BBC Music Magazine

Rachmanino­v

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Symphony No. 3 in A minor; Symphonic Dances

Philharmon­ia Orchestra/

Vladimir Ashkenazy

Signum SIGCD 540 77:34 mins

As a conductor Vladimir Ashkenazy scored one of his earliest recorded successes with Rachmanino­v’s symphonic cycle, captured in resplenden­t sound by Decca’s engineers.

The orchestra on that occasion was the Concertgeb­ouw, whose luxurious opulence combined with Ashkenazy’s thrusting urgency to create readings balanced tantalisin­gly somewhere between ★aitink-like majestic poise and a fiery, off-the-leash spontaneit­y reminiscen­t of Evgeny Svetlanov.

By comparison, the Philharmon­ia produces a leaner, more transparen­t sound, captured ‘live’ with almost tactile precision and accuracy by technical wizards Andrew Cornall and Jonathan Stokes in London’s Royal Festival ★all. This suits Ashkenazy’s latest take on the Third Symphony to perfection, which exchanges the urgently romantic thrust of the 1980s for a poetically subtle inner glow. The music’s distinct Russiannes­s is experience­d at a much deeper level this time around; so too its indebtedne­ss to the New World, where Rachmanino­v had settled, completing the work there in 1936. Ironically, America failed initially to appreciate the music’s economical restraint, while Russia simply turned its back, public performanc­es of Rachmanino­v’s music being at that time banned in the Soviet Union following his wellpublic­ised hostile comments about the regime.

Shortly before starting work on his final magnum opus, the Symphonic Dances, Rachmanino­v confessed in an interview: ‘I cannot cast out the old way of writing, and I cannot acquire the new.’ As if in direct response, Ashkenazy conducts a performanc­e that whilst lacking nothing in elemental Russian intensity, possesses an almost ★indemithli­ke, neoclassic­al equilibriu­m, making the opening movement’s autumnally reflective coda feel all the more poignant in context. If Ashkenazy’s earlier account was

more about emotions and feelings, here one can almost sense him thinking out loud. Julian Haylock PERFORMANC­E RECORDING

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