Sergei Rachmaninoff (1873-1943)
Symphony No. 2 in E minor, Op 27 (1907-08)
Symphony No. 3 in A minor, Op 44 (1935-36)
The Isle of the Dead, Op 29 (1909)
The Philadelphia Orchestra/Yannick Nézet-Séguin
rec. 2018, Verizon Hall, Kimmel Center for the Performing Arts, Philadelphia (Op 27); 2020/22, Academy of Music on the Kimmel Cultural Campus, Philadelphia (Op 44 & Op 29)
Deutsche Grammophon 486 4775 [2 CDs: 124]
Back in March 2021 I reviewed a fine disc on which Yannick Nézet-Séguin and the Philadelphia Orchestra played Rachmaninoff’s First Symphony and the composer’s last masterpiece, the Symphonic Dances. At the time I had understood from Universal’s publicity announcement that it was intended to release another recording in 2022 with the final instalment to follow in 2023 so that the symphony cycle could be completed in the year that we mark the 150th anniversary of Rachmaninoff’s birth. For whatever reason, the scheduling didn’t quite work out like that and now we have the remainder of Nézet-Séguin’s cycle in a two-CD set. It’s interesting to note that the performance of the First Symphony, which has already been issued, was actually recorded six months after the Second Symphony; the latter work was set down in March 2018.
There’s probably no orchestra more closely associated with Rachmaninoff than the Philadelphians. They gave the first performances of several of his later works, including the Fourth Piano Concerto (Composer, Stokowski, 1927), Rhapsody on a Theme of Paganini (Composer, Stokowski, 1934), Third Symphony (Stokowski, 1936), and the Symphonic Dances (Ormandy, 1941). Furthermore, the orchestra plays on the very first recording of the Rhapsody on a Theme of Paganini, made in 1934, and with Rachmaninoff on the podium they recorded The Isle of the Dead in 1929 and the Third Symphony in 1939 (review). So, it’s very fitting that they and their present Music Director should mark the composer’s anniversary with a symphony cycle; they have already set down for DG all five works for piano and orchestra with Daniil Trifonov.
In the Second Symphony Nézet-Séguin joins a host of other conductors, including André Previn in his classic 1973 EMI recording with the LSO (review), in omitting the first movement exposition repeat. I regret that; the material is eminently worthy of a second hearing, especially when played as sumptuously as is here the case. On the other hand, the inclusion of the repeat makes for a very long movement indeed: Gennadi Rozhdestvensky takes the repeat in his distinguished 1988 recording, also with the LSO, and as a result his spacious account of the movement takes 24:30 (review). In Nézet-Séguin’s performance, the first movement, with no repeat, plays for 20:41 and there is no lack of spaciousness where this is required. I like very much his brooding account of the opening Largo section. This is every bit as broad as Rozhdestvensky’s version and immediately we can admire the sumptuous sound of the Philadelphia Orchestra and the rock-solid foundation provided by the cellos and double basses. The Largo is lovingly phrased; this is full-blooded romanticism. When the tempo moves on into Allegro moderato, Nézet-Séguin ensures excellent ebb and flow of the phrases. The playing of the orchestra is ideal for this music: the strings are rich – great sonority among the bass instruments and a lovely sheen on the violin sound – the woodwinds are supple and phrase beautifully, the horns pour out golden tone, and the brass are burnished. In the development section there’s plenty of passion; this performance combines spaciousness and energy in an ideal fashion. The coda (track 3, from 3:10) is really exciting. This is an outstanding reading of the first movement. Incidentally, DG divide the first movement into three tracks. I don’t think I’ve ever encountered such a presentation of this music on disc, but I found it very helpful.
The Scherzo is taken at an invigorating lick – both Previn and Rozhdestvensky are slightly steadier. When Nézet-Séguin gets to the movement’s second idea (1:16) the playing is gloriously ripe; the strings give us just the right amount of portamento. He takes the fugal episode at a reasonably steady speed, though never losing momentum; the accelerando back to the Scherzo is really exciting. The solo clarinet player who treats us to the first unfolding of the main melody in the Adagio is not named: he or she should have been. The clarinettist plays soulfully. Jack Brymer (Previn) and Andrew Marriner (Rozhdestvensky) also play with great distinction and feeling. I wouldn’t care to express a preference for any one of these three players over the others; however, I will note that Nézet-Séguin (like the other two conductors) gives the Philadelphia clarinettist all the time they need to phrase beautifully and the result is heart-rending, as it should be. I should add that the clarinettist receives superb support from the other woodwind principals, all of whom play most characterfully. The orchestra as a whole produces an ardent first climax; frankly, it’s easy to be seduced simply by the quality of the playing in this movement. In the second half of the movement, I loved the amount of inner detail (woodwind and horns) that we can effortlessly hear. The orchestral sound is so rich – without ever becoming cloying – and that means that Rachmaninoff’s nostalgic lyricism is done full justice. The finale is exhilarating at the start. The passage of sweeping lyricism (2:55 – 6:52) positively glows here; once again, the phrasing is gloriously idiomatic, yet all this is done while maintaining momentum – there is no wallowing, despite all the authentic string portamenti. Once the main Allegro vivace material reappears, the performance sweeps all before it and the last couple of minutes, as the symphony rushes to its conclusion, are absolutely terrific.
Fabulously played and superbly conducted, I think this recording of the Second Symphony sets a new benchmark for the work. However, I must mention one small but significant issue. At the very start of the symphony the first note that we hear should be a crotchet – and a spacious one at that. Unfortunately, what I can only presume is an editing error has resulted in the note being clipped; it sounds as if the work begins with a quaver. It’s only a small thing but once you’ve heard it, you’ll be expecting it every time you play the disc. It’s an unfortunate little blemish on an otherwise outstanding performance. I should say that I listened to a CD; I don’t know whether digital downloads will be similarly affected.
Much the same virtues that distinguished the performance of the Second Symphony – superb playing and stylish, idiomatic conducting – are in evidence also in the Third Symphony. Nézet-Séguin imparts significant – and welcome – energy into the fast sections of the first movement. The Allegro moderato episodes are tenderly phrased, especially when Rachmaninoff revisits this material later in the movement. The slow movement benefits from very sensitive horn, violin and flute solos; but, then, the whole orchestra plays with finesse and soul. In the central scherzo section (5:48 – about 9:15) the brilliance and colour of Rachmaninov’s orchestration really tells in this glittering performance. The return to the Adagio is marvellously done and the very end of the movement is played with great feeling. In the fast sections of the bright, A major finale there’s bite and brilliance in the performance. In the fugato section (from 3:44) every strand is clearly heard; the music is fast and exciting. Nézet-Séguin knits the whole movement together very successfully, not least the passages where the colourings darken and Rachmaninoff indulges his nostalgic vein. The exciting conclusion brings down the curtain on a terrific account of Rachmaninoff’s final symphony.
The Isle of the Dead is a welcome addition to the programme, and a highly appropriate one since it means that we get on the second CD of this set two of the three works which Rachmaninoff recorded as conductor with this orchestra. (The third work was his own orchestration of Vocalise, Op 34, which he set down with the Philadelphians in April 1929, on the same day that they recorded The Isle of the Dead together.) I liked this new performance very much. The opening is suitably dark and oppressive, just as we find on Vladimir Ashkenazy’s very fine 1983 version with the Royal Concertgebouw Orchestra, which my colleague, Len Mullenger rightly described as “truly magnificent, compelling” (review). The Ashkenazy recording still sounds superb, forty years after it was made, though an A/B comparison with the new Nézet-Séguin suggested to me that the impactful Decca sound is perhaps marginally less suited to this dark-hued score than the new DG sound, which is just a fraction more distanced. Nézet-Séguin’s performance is full of foreboding and by the time the first climax arrives (8:56) he has built the tension marvellously. The tension never lets up and the Allegro molto section leads to another imposing climax. The build-up to the final and main climax is really well done and the climax itself truly hits home (16:00). That said, Ashkenazy is a bit more urgent in the pages leading up to this climax and the big moment itself sounds terrifying. In Nézet-Séguin’s hands, the closing pages (from around 19:00) are dark and doom-laden: no-one escapes the ferryman. In short, I continue to esteem the Ashkenazy very highly but, my goodness, this new version gives Ashkenazy’s performance a run for its money; I think Nézet-Séguin and his superb orchestra are very convincing indeed.
This, then, is a memorable set. I’ve now heard all the Rachmaninoff recordings made by Yannick Nézet-Séguin and the Philadelphia Orchestra. I’ve been consistently impressed, but I think these three performances – and that of the Second Symphony in particular – are the finest of the series. I haven’t heard of any plans for this team to record The Bells; I wish they would. Their earlier performances of the First Symphony and the Symphonic Dances were recorded live. I’m not sure if any of the present recordings were made in concert, though that may be the case with the Second Symphony, which was set down in the Verizon Hall, like the previous pair of performances. Whatever the origin, these new recordings have the electricity of live performances. DG have recorded the music expertly; the performances have impact and we can hear a great deal of inner detail, all of which allows us to appreciate Rachmaninoff’s music and his orchestrations to the full.
These thrilling performances are fit to rank with the best in the Rachmaninoff discography.
Footnote
Before submitting this review I raised with DG the question of the “clipped” note at the start of the Second Symphony. I got no answer. However, I have now heard from someone who also raised the matter. DG passed on a response by the producer that “It is not an editing fault, but artistic interpretation”. I don’t know what the thinking was which led Yannick Nézet-Séguin to make this decision but I’ve never heard the opening treated in this way and, to the best of my knowledge, it’s at variance with the score.
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