February 14, 2010

  • Review: Slatkin's New Rachmaninov Cycle Kicks off

    Rachmaninov: Symphony No. 2 in e, Op. 27; Vocalise, Op. 34, no. 14
    The Detroit Symphony Orchestra conducted by Leonard Slatkin (live recording)
    Naxos 8.572458
    Recording:   ****/****
    Performance: ****/****

    The disc opens with an exquisite performance of the Vocalise, Op. 34, No. 14 as orchestrated by the composer.   This gives us a chance to hear individual solos that show off the lyric talent of the orchestra.  Some recordings have placed this as a final “bonus” at the end of the release which can really diminish the power of a Rachmaninov final movement.  By placing it at the beginning of the release it whets the appetite for the slower sections of the work to come.

    To be honest, it was Leonard Slatkin’s recordings with the St. Louis Symphony Orchestra in the late 1970s that introduced me to these symphonies (now available in a Vox re-issue).  It might seem a bit odd, but that series of recordings is really one of Slatkin’s many recording highlights worthy of more attention.  He also has a historical connection to this piece as his great-uncle, Modeste Alstchuler, gave the American premiere of the work in 1909.   So it was with a great deal of anticipation that this new release was awaited at the announcement of this new cycle from Naxos.  Naxos recorded this symphony in September of last year and this quick release date suggests that they too know this is something special.

    The second symphony is a huge work of 19th Century romanticism.  Composed mostly in 1907, the piece is filled with long dramatic stretches of chromatic writing that build to amazing intensity.  It also has one of Rachmaninov’s most beautiful slow movements.  One can hear the distant echo of Tchaikovsky in parts of this symphony, but things are taken to new heights.  Here is Rachmaninov orchestrating and blending instrumental choirs in rich harmony with fascinating counter-melodic ideas running against big themes that are always achingly reaching outward.  And even the “Dies irae” manages to sneak in, but cannot break the spell of the exciting conclusion.

    The first movement’s opening largo unfolds gradually with a sense of patience and as we move into the first thematic idea it is shaped and nuanced so fascinatingly that one is drawn into the music anew.  This is no slap through the music reading, but one in which the rubato of melodic line is truly chosen carefully. 

    The exciting second movement scherzo opens with fabulous brass playing and then speeds along with virtuosic speed.  But the detail in the recording allows us to hear many of the interior parts so well.  The solos and gorgeous string playing for the slower second theme are all indicators of just how great the Detroit Symphony truly is as an ensemble.  Notice the crisp wind playing coupled with spot one strings scurrying into the transitions.  The big crash that sends us into an almost Mendelssohn-ian scherzo central section is also spot on in alerting the structural shift in the music as well.  It is in this movement where we get to hear the percussion section superbly increase the tension.  Again the balance of the recording here is truly wonderful to hear.

    The third movement features a melody that just blossoms right at the beginning of the movement and then begins a long clarinet solo that has to be one of the most Romantic themes ever composed.  (Yes, this is the tune in Eric Carmen’s “Never Gonna Fall in Love Again.”).  Sometimes this melody can feel like an idea that has nowhere to go, but under Slatkin’s direction, the theme just continues to grow and the slight string slides (something that one associates with Hollywood but not mid-20th century orchestral performance) are done here in a most sensual way as the line continues to grow.  The central section has fabulous balance between winds and strings.  How this movement ends, a throb and then subsiding into nothing, can sound forced, but somehow here it all happens so naturally.

    The final movement is again one of the composer’s finest orchestral outings and here Slatkin’s tempo literally zips along.  Growling muted brass bring an appropriate edge as the music turns into a minor wind section.  As the music shifts from thematic idea to the other Slatkin is careful not to let things spin out of control, holding back just enough and building the musical tension until its ultimate explosive and exciting conclusion.

    While many recordings exist of this work (some 65+) at a quick count, I’ve chosen three for brief comparison.  The first is an exciting and intense virtuoso performance that Vladimir Ashkenazy recorded with the Concertgebouw Orchestra for Decca.  It barely squeaks by a fabulous cycle Andrew Litton recorded for Virgin with the Royal Philharmonic.  Slatkin’s first outing in 1979 in my mind stands well alongside them.  A quick look at playing times of the individual movements gets across that sense of urgency that Ashkenazy brings to this music and one which I think is matched in Slatkin’s new recording.  Litton tends to take a bit more time with the slower movements which seems excessive taken as mathematical information, but in his conception of the second symphony it works.

    Movement

    Ashkenazy (1982)

    Litton (1990)

    Slatkin (1979)

    Slatkin (2010)

    1-Largo/Allegro moderato

    17:58

    23:15

    19:46

    18:10

    2-Allegro molto

    9:32

    10:09

    9:43

    9:00

    3-Adagio

    14:15

    15:05

    15:05

    13:32

    4-Allegro vivace

    13:02

    14:47

    14:07

    13:23

     

    Slatkin’s performance here is simply remarkable all around.  He is given virtuosic performances from the Detroit players.  The phrase shaping and subtle rubato is also well-chosen.  Tempos never drag and transitions into the many big moments of the score are handled so well that they never seem episodic (something which can plague many a Rachmaninov performance).  And just when you think things cannot get any better, you are practically on your feet for the final 2 minutes of the fourth movement—yes, it is goose bumps musical time.

    This new Naxos release is probably one of the most thrilling performances of this work.  The performance was recorded live which is only apparent at the very end when the audience explodes with appreciation.  While I would not give up my other CDs used for comparison, this new release will certainly edge its way to the top.  Let’s hope for a long fruitful recording history with Slatkin and the Detroit Symphony!