Customer Reviews

Rachmaninov: Symphonies 1-3; The Bells; Symphonic Dances; The Isle of the Dead

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I cannot believe what great quality this package is for such a great price!

The music itself is divine. The mixing is spot on (A very rare compliment to hear from my mouth). What more could I want? More works by Rachmaninov like this please!

I just finsished a review of Heinrich Schiff performing the Shostakovich Cello Concerti where I said in part, "This album proved to me that sometimes at least, calculation and intellect can win out over spontaneity and discovery. This isn't to compare one unfavorably with the other..."

And then there's this set, in which calculation and intellect lead to--Zzzzzzz. I've heard performances of the Rachmaninoff 2nd that were too sugary. I've heard performances that were too slow and heavy. But I've never heard any before that didn't affect me at all. But that's what I get here, as I do with the rest of the works on this album. Everyone plays the notes. They play them beautifully. Whether it's through splicing or because the Concertgebouw, even at this late post-Haitink stage was still a beautiful orchestra, the execution is flawless. But in the end what does Ashkenazzzzy say in any of these works. Nothing that I can figure out. If he wanted to unsentimentalize them that's fine, but he doesn't even do that. To me these are simply uninspired performances. Even the creepy Isle of the Dead is very, um, dead. Performed correctly, this work has a haunting, deja-vuish quality. Performed badly, it can sound like bad 1940s film music. Here it doesn't sound like much of anything.

My favorite Rachy 1st and 2nd symphonies still remain Previn--the first with the LSO (Angel/EMI) from the early 70s, the second on Telarc from 1985. (Honorable mention goes to Eugene Ormandy and the Philly Orch on CBS/Sony.) For the 3rd Symphony and the Isle, nothing for me tops--or probably ever will top--Rachmaninoff himself with the Philadelphia Orchestra, 1940. If you want to hear real Russian soul without excessive Hollywoodisms, just listen to those performances. Sadly, the sound is less than great, but it's a small price to pay for the greatest performances you're ever likely to hear of those works. He really makes use of the tone colors of the Philadelphia strings. The strings here, by contrasy, have no color. Neither do the winds, nor brass.

This set is, to me, very forgettable, like a lot of Ashkenazy's conducting.

I just finsished a review of Heinrich Schiff performing the Shostakovich Cello Concerti where I said in part, "This album proved to me that sometimes at least, calculation and intellect can win out over spontaneity and discovery. This isn't to compare one unfavorably with the other..."

And then there's this set, in which calculation and intellect lead to--Zzzzzzz. I've heard performances of the Rachmaninoff 2nd that were too sugary. I've heard performances that were too slow and heavy. But I've never heard any before that didn't affect me at all. But that's what I get here, as I do with the rest of the works on this album. Everyone plays the notes. They play them beautifully. Whether it's through splicing or because the Concertgebouw, even at this late post-Haitink stage was still a beautiful orchestra, the execution is flawless. But in the end what does Ashkenazzzzy say in any of these works. Nothing that I can figure out. If he wanted to unsentimentalize them that's fine, but he doesn't even do that. To me these are simply uninspired performances.

Even the creepy Isle of the Dead is very, um, dead. Performed correctly, this work has a haunting, deja-vuish quality. Performed incorrectly, it can sound like bad 1940s film music. Here it doesn't sound like much of anything.

My favorite Rachy 1st and 2nd symphonies still remain Previn--the first with the LSO (Angel/EMI) from the early 70s, the second on Telarc from 1985. (Honorable mention goes to Eugene Ormandy and the Philly Orch on CBS/Sony.) For the 3rd Symphony and the Isle, nothing for me tops--or probably ever will top--Rachmaninoff himself with the Philadelphia Orchestra, 1940. If you want to hear real Russian soul without excessive Hollywoodisms, just listen to those performances. Sadly, the sound is less than great, but it's a small price to pay for the greatest performances you're ever likely to hear of those works. He really makes use of the tone colors of the Philadelphia strings. The strings here, by contrasy, have no color. Neither do the winds, nor brass.

This set is, to me, very dispensible, like a lot of Ashkenazy's conducting.

This is a lovely set of Rachmaninoff's three symphonies. As with his other works, these pieces are melodic and full of passion. Rachmaninoff may get a little moody at times, but he will never leave you in the doldrums. These are exciting works, and Ashkenazy brings them to life. The orchestra responds well. As a real bonus, this set includes other orchestral works. Of these, the Symphonic Dances have been performed more frequently lately. Ashkenazy handles these Dances admirably.

The sound quality of these digital Decca releases is excellent. The upper range of the brass has a little bite to it, but it does not detract from the deep, rich sound of the Concertgebouw Orchestra. The dynamic range is extensive. Don't be afraid to turn up the volume and give your speakers a workout.

This is a class act where the conductor, orchestra, and music come together beautifully. Bravo.

i have never heard the symphonies by rachmaninov, and my only dive into his orchestral works other than the concerti before i got this cd was isle of the dead, which is also included in this set, and the main reason i got it. i was pleasantly suprized that this is quite possibly one of the most powerful recordings ive ever heard, and ive heard many.

Rachmaninov was the last romantic composer, and he was heavily influenced by his idol, Tchaikovsky. However, his music has a certain texturing and flair that is unique to Rachmaninov. His first symphony was a spectacular failure, which, upon hearing the piece, was an absolute shock to me. The only logical reason for this disaster would have to be that its premiere conductor (Glazunov) arrived at the podium tanked up on vodka. Damn you Glazunov. Symphony number one in D minor is a spectacular piece, though its inner movements do contain some rather dull moments. All of the previous reviewers have commented on the second symphony, so all I'm going to say about it is that it's a breathtaking piece, and Askenazy does it a great justice, most outstandingly in the second and third movements.

The Isle of Dead is (in my personal opinion) one of the, if not THE, greatest pieces ever written. It opens with a foreboding timpani beat accompanied by the orchestra, shortly followed by a brilliant 5/4 motif that is steadily repeated over and over with subtle variations. Soon, another simple motif is introduced the horns. From here the music builds, incorporating new themes and ingeniously colored orchestration until it reaches a climatic recapitulation. Over the course of the piece (last over 20 minutes) one goes though an assortment of emotions that are all overshadowed by a terrible aura of gloom. I became so entranced by this piece that I bought a reproduction of the painting Rachmaninov was inspired by. A link to a site were the painting can be bought is as follows:

...

In looking at this magnificent piece of art, I could interpret for myself what Rachmaninov had written in his music. The 5/4 repeated motif is meant to represent the slow paddling of oars in dark water. In my mind, the boat in the painting is a vessel traveling to hell, and the music depicts the collection of feelings one might have when knowing they are doomed to hell: regret, anger, fear, reminiscence, foreboding to name a few. There are some more bright themes in the piece, however Rachmaninov is sure never to let the pieces mood of overwhelming eeriness be lifted. The piece in ends the perfect cadence, as if a doomed soul on the way to hell has accepted his fate.

I recommend this CD most strongly to anyone who likes Tchaikovsky, Rimsky Korsakov, or Debussy, however anyone can enjoy such beautiful music.

Vladimir Ashkenazy can now be considered "The Compleat Rachmaninov Performer," having performed and recorded his countryman's concertante works, solo piano music, chamber music, choral music--and the major symphonic works, which are gathered in a generously filled and enticingly low-priced 3-CD box. The Russian soulfulness and emotionality (often bordering on melancholy) and nervous energy that drove Rachmaninov's music come to the fore here, especially by comparison to the more lush and langorous approach of Andre Previn (whose EMI set containing almost all the same works included here, except for "The Bells," is a fine achievement in its own right). Unlike another very Russian-sounding complete set--the Evgeny Svetlanov cycle from the early 1960s, reissued on CD some years back on Melodiya--the recorded sound is easy on the ear, showing that some early-digital productions hold up well today.

The one slightly weak item here is the "Symphonic Dances," Rachmaninov's last completed major work, which in Ashkenazy's hands is merely a stunning showcase for a virtuoso orchestra (but what a showcase, and what an orchestra). Other conductors, including Previn and the late Kyrill Kondrashin, found more depth in this enigmatic triptych. However, this set's "weak link" is stronger than some other sets' highlights. The three numbered symphonies could hardly be bettered, but for me the high watermark is the choral symphony "The Bells," which Rachmaninov considered his own finest work. In this performance, it's easy to understand why.

This album contains all of Rachmaninov's major orchestral works, which includes his three symphonies, the tone poem Isle of the Dead, the Bells (based on a Russian translation of the Edgar Allen Poe poem) and the Symphonic Dances, his final work. The performances are all among the finest available, combining as they do Ashkenazy's deep affinity for the idiom, first rate orchestral playing, and excellent sound of considerable clarity, bass extension and dynamic range. Furthermore, you get all this for a superbudget price. End of story.

Wow. I have always loved Rachmaninov, and Ashkenazy has never disappointed with his interpretations, so I was willing to give him a shot as a conductor. I was not very familiar with Rachamninov's symphonic works before I bought this set, but my love for him has only increased as I see his abilities as a symphonist. The second symphony is the most easily understood, and is one of the most beautiful pieces written in the twentieth century. For those who still consider Rachmaninov purely romantic I encourage them to listen to the First Symphony and the Symphonic Dances. They have elements of Rachmaninov's lyrical romantic style, but possess an edginess and a dark fire that is lacking in any comparable Romantic composer's (Tchaikovsky?) work. His choral symphony is a marvel to listen to, and chilling in its ability to convey action through music (if you buy this set I encourage you to read the words along with the music). The Isle of the Dead is similarly chilling and icily beautiful. Did I mention you can get this whole miraculous set for (dollar amount)? If you are a fan of Rachmaninov you can't pass this set up.

Vladimir Ashkenazy's love of Rachmaninov's music is evident not only on the keyboard, but also at the podium. His conducting of Rachmaninov's music is absolutely first rate, with an ample mix of passion and precision. I am certain that these fine recordings undoubtedly helped raise his stature as a noteworthy conductor. Under his direction, Bernard Haitink's Concertgebouw Orchestra gives distinguished, technically perfect performances steeped in emotion. Their level of playing is superior to the Berlin Philharmonic Orchestra's under Lorin Maazel's baton (Maazel and the BPO recorded a set of Rachmaninov's symphonies for Deutsche Grammophon around the time of Ashkenazy's recordings.). The best performance of Ashkenazy's Rachmaninov cycle has to be that of the Second Symphony, but the others, especially those of the tone poems, are almost as good too. Of course, Decca's sound engineers did a wonderful job capturing the Concertgebouw's (the orchestra's hall, that is) warm acoustics. If these aren't the definitive recordings of Rachmaniov's symphonies, then they ought to be.