Rachmaninov’s star shone brightly at the beginning of his career. He was barely twenty when his oneact opera Aleko, composed as a graduation exercise from the Moscow Conservatory, was praised by Tchaikovsky and performed at the Bolshoi. He had also already composed his First Piano Concerto. Following two smaller-scale orchestral pieces, The Rock and the Fantasy on Gypsy Themes, he felt ready to tackle the most demanding orchestral form. He devoted most of 1895 to composing his enormously ambitious First Symphony, a work that would surpass everything he had yet achieved. ‘I believed I had opened up entirely new paths’, he recalled many years later.
Total time: 01:01:22
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Neil Hutchinson, Jonathan Stokes
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|Release Date||January 27, 2017|
‘This is music Gergiev clearly believes in and that translated itself to his players…Here was Gergiev at his best.’
BBC Music Magazine
‘The LSO plays, as always, splendidly for Valery Gergiev. The general excellence and detail of their performance is remarkable.’
The Whole Note
“Rachmaninov’s Symphony No.1 certainly didn’t have the smoothest entry into the world. At its premiere in March of 1897, the (possibly) inebriated conductor, Alexander Glazunov, had already expressed his doubts about it and gave a less-than-stellar performance. As a result, the scathing reviews were enough to shatter Rachmaninov’s confidence as a composer for four years. Since that time, the piece has come to be better regarded and is presented here as the last in a cycle of the complete symphonies featuring the London Symphony and Valery Gergiev.
From the menacing chords that open the first movement, it’s clear that Gergiev and the LSO have full command of this challenging score – and challenging it is. Rachmaninov rarely ever again demonstrated such raw emotion in his orchestral writing and the sometimes strident tone can be a bit of a challenge. Nevertheless, the LSO delivers a suave and polished performance despite brisker tempos than we might be accustomed to. The warmly romantic strings meld perfectly with the stirring brass, particularly in the second and fourth movements and the bombastic finale is approached with much panache without ever resorting to empty virtuosity.
An added bonus is Balakirev’s Tamara, a work the composer considered his finest. Based on a sultry love-poem by Mikhail Lermontov, the score is an exercise in oriental exoticism so favored by Russian composers of the period. Gergiev and the LSO offer up a convincing performance of this sensuous music, from the mysterious beginning to the tumultuous finale before quietly fading away. Are there shades of Scheherazade here? Quite possibly. Under Gergiev’s skillful baton, the result is a wonderful blending of cultures, rounding out this outstanding three-disc cycle. Highly recommended.”
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