Rachmaninov: Symphony no. 1 / Isle of the Dead [Import]

Track Listings

1. "The Isle Of The Dead",Symhonic Poem Op.29

2. Grave- Allegero Ma Non Troppo - Moderato - Allegro Vivace

3. Allegro Animato

4. Larghetto9

5. Allegro Con Fuoco

Tracks:

Symphony No. 1 In D Minor, Op.13: I. Grave - Allegro ma non troppo
Symphony No. 1 In D Minor, Op.13: II. Allegro animato
Symphony No. 1 In D Minor, Op.13: III. Larghetto
Symphony No. 1 In D Minor, Op.13: IV. Allegro con fuoco
Symphonic Dances, Op. 45: I. Non allegro
Symphonic Dances, Op. 45: II. Andante con moto (Tempo di valse)
Symphonic Dances, Op. 45: III. Lento assai - Allegro vivace

Tracks:

Symphony No. 2 in E minor, Op.27: I. Largo - Allegro moderato
Symphony No. 2 in E minor, Op.27: II. Allegro molto
Symphony No. 2 in E minor, Op.27: III. Adagio
Symphony No. 2 in E minor, Op.27: IV. Allegro vivace
The Isle of the Dead, Op.29

Tracks:

Symphony No.3 In A Minor, Op.44: I. Lento - Allegro Moderato
Symphony No.3 In A Minor, Op.44: II. Adagio ma non troppo - Allegro vivace
Symphony No.3 In A Minor, Op.44: III. Allegro
The Bells, Op.35: I. Allegro ma non tanto
The Bells, Op.35: II. Lento
The Bells, Op.35: III. Presto
The Bells, Op.35: IV. Lento Lugubre

Customer Reviews:

Excellent recordings, all worth getting at any price!!!.......2005-04-01

Different people have different tastes. Without wishing to malign those who don't care as much (or at all) for this set, I'll dare say that this set is an absolute classic. [Why go only for the 2-disc set of just the symphonies instead of getting also Ostróva Mjórtvïkh (The Isle of the Dead), the Symphonic Dances and Kolokóla (The Bells) that come automatically as part of this 3-disc set?]

It was the Ashkenazy recording of Ostróva Mjórtvïkh that introduced me to what has since become my favourite symphonic poem ever (roll over Richard Strauss - this one together with Schönberg's "Pelléas et Mélisande" take the cake!) as well as the Symphonic Dances - and also Kolokóla as well as the 1st & 3rd Symphonies. [Prévin did as much for the 2nd Symphony in my case and his recording is a more than worthy competitor - his and this one are as good as tied for top spot in my honest opinion - get them BOTH if possible!!!!] At all times, these interpretations proved Sjergjéy Vassíljevich Rakhmáñinov as one of the greatest composers of the 1850-1950 period, even if he wasn't the most prolific (my biggest regret is that death stopped him from benefitting us organists with an Organ Concerto meant for Charles Courboin). [He was the type that could only concentrate on one thing at a time - be it composition, piano concertising, or conducting, at all of which he was outstanding; however, when he went into exile after the Russian Revolutions, he found himself mainly working as one of the greatest pianists of all time in order to secure his future and feed his family.] Obviously his mentor Pjótr Iljích Chaykóvskiy was a powerful influence on him; however, Rakhmáñinov never loses his individuality at any point!

Certainly his symphonic output is uniformly high: his 1st Symphony, while not always the most cohesive at times, still deserved a heck of a lot better fate than it received at the hands of Glazunóv - it's extremely inspired and there's no question that it deserves a high place in the repertoire. The 3rd Symphony - and the Symphonic Dances - not only proved that Rakhmáñinov had lost none of his mastery or inspiration in exile; they're both absolute masterpieces in their own right! [As to the 2nd, it would be my 2nd-favourite symphony, period, right behind Chaykóvskiy's 6th (Pathétique). The 3rd movement, if a question of falling in love for some, is for me a point of grieving for a lost love (which is very much still in my life after many years - I still cry bitterly on hearing this and the 1st movement!) and letting gradually go, though with greatest pain...] Finally, Kolokóla: another great masterpiece (the 2nd movement is especially moving and wonderful!).

Most definitely, Ashkenazy does full justice to all of these works. Of course, one can disagree with this or that aspect or instant in this or that work (e.g., I could have wished a slower accelerando in the 2nd movement of the Symphonic Dances from the waltz tempo - that way one misses the otherwise obvious allusion to Chaykóvskiy's "Flowers' Waltz" from Shchjeljkúnchik {Nutcracker}); however, the overall merits of these recordings truly deserve the fullest 5 stars possible - I'd myself go for 6! Go get it in all events!!!!

Outstanding Set, But Get Temirkanov for The Symphonic Dances.......2004-08-07

This is an outstanding set, with the exception of the Symphonic Dances, where Ashkenazy conveys some of the passion in this work but doesn't attain nearly the same level of emotional intensity as Kondrashin's or Temirkanov's versions.

A fantastically passionate performance of The Symphonic Dances is the 1963 recording by the Moscow State Symphony Orchestra, with Kiril Kondrashin as conductor (RCA; Catalog # 32046; ASIN: B000003ETI). With Kondrashin, the power and passion of The Symphonic Dances sweeps the listener away and takes him to an inspirational level. The performance is so burning hot that it throws off sparks. However, this CD may be out-of-print.

Another excellent and passionate interpretation of The Symphonic Dances is the 1992 recording by Yuri Temirkanov and the St. Petersburg Philharmonic Orchestra (RCA; Catalog Number 62710; ASIN: B000003FRT). The Temirkanov CD also has a beautiful performance of the Rhapsody on a Theme of Paganini, with the pianist Dmitri Alexeev.

The rest of this 3-CD set, consisting of the three symphonies and the Isle of the Dead, is outstanding. In the symphonies, the balance and the dynamic interplay between the strings, horns, and winds are brought out beautifully and the sound quality is crystal clear. The Isle of the Dead is very movingly performed, from the opening passage, where Ashkenazy establishes a somber ominous mood, to the sweeping majesty of the most powerful moments.

The CD booklet has a well-written, detailed, and informative essay on all of the compositions. The full text of The Bells, based on a reinterpretation of Edgar Allan Poe's verses by the Russian symbolist poet Konstantin Balmont (1867 - 1943), is also included in Russian, English, French, and German.

Highly recommended, with the additional recommendation of supplementing this set with Kondrashin's or Temirkanov's recording of The Symphonic Dances.

A noteworthy Rachmaninov set.......2004-07-30

These were outstanding recordings when they were released individually in the 1980's, and as a complete set they make quite a bargain. Ashkenazy finds just the right tempi in most cases, particularly in the spectacular Symphonic Dances, one of the best versions of this piece ever recorded. Somehow he manages to combine his no-nonsense approach while still letting Rachmaninov's long melodic lines glow.

The dark Concertgebouw tone suits this program perfectly. If the First and Third Symphonies aren't exactly the composer at his most inspired (don't get me wrong -- not bad, just not his best), you are not likely to hear either one performed as dazzlingly as they are here. Many listeners will already have a recording of the Second Symphony, probably the composer's most popular work, and I'm not convinced that Ashkenazy's is the one and only, but you may want it just for the quality of the playing from the orchestra. And there is no shortage of good recordings of the Isle of the Dead, either, but again, the mood conjured up here is considerable.

In short, this is an excellent set -- gorgeously played, and spectacularly recorded. And now it's at a price that makes it hard to beat.

BRILLIANT!!!.......2003-09-22

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!

Oh, Rachy, what beautiful music!.......2003-04-24

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.

Tracks:

Piano Concerto No.2 In C Minor, Op.18: 1. Moderato
Piano Concerto No.2 In C Minor, Op.18: 2. Adagio sostenuto
Piano Concerto No.2 In C Minor, Op.18: 3. Allegro scherzando
Rhapsody On A Theme By Paganini, Op. 43
Vocalise, Op. 34 No.14
Liebesleid
Prelude in C sharp minor, Op.3 No.2
Prelude in G minor, Op. 23 No.5

Tracks:

Symphony No.2, Op.27: 1. Largo - Allegro moderato
Symphony No.2, Op.27: 2. Allegro molto
Symphony No.2, Op.27: 3. Adagio
Symphony No.2, Op.27: 4. Allegro vivace
The Isle of the Dead, Op. 29

Customer Reviews:

Rachmaninoff's Masterpieces.......2005-11-13

Sergei Rachmaninoff remains the most celebrated of the modern Russian composers who retained the spirit of Romantics like Tchaikovsky. In this fabulous recording from the Phillips Label, we are treated to his most cherished piano/orchestral masterpieces. They include the incomparable Piano Concerto No. 2 in C Minor, as performed by the Royal Philharmonic with Spanish pianist Rafael Orozco and conducted by Edo De Waart. This piano concerto is grand in scale and at times borders on Beethovenesque melody. It's dark and brooding and supremely romantic. It was prominently featured in the David Lean 1940'ish film "Brief Encounter" about a romance that is forged on a train ride. The most famous piece associated with the great Rachmaninoff is his Rhapsody On A Theme Of Paganini for Piano and Orchestra. Lush, sweeping romantic melodies sigh and stir on the piano and escalate into voluminous beauty in the orchestra. Upon hearing it, you will recognize it for sure. The Vocalise was originally a piano piece, at times resembling a sort of modern Moonlight Sonata, with a long haunting melodic line, but has become famous as a concert aria and sopranos like Renee Fleming still sing the aria today. As most piano composers tend to do, Rachmaninov transcribed works from other composers for piano and here we hear his lovely piano version of Kreisler's violin work "Liebeslied" or "Love Song". Beautiful! The Preludes are works of tonal beauty and nocturnal moods. Orozco is truly gifted on the piano. Years of training sharpened his musical talents so that he mastered the piano and Rachmaninoff especially. He knows Rachmaninoff's music intimately. He uses flowing rubato and handles the music with a sacred spirit. He breathes life into the works and never succumbs to mechanical playing. Instead, we get colorful musical portraits, complete with evocative imagery, such as in the Isle of the Dead, a symphonic poem that is also terrific in orchestral form. The Symphony No. 2 is another brilliant piece on here. Overall, a fine album and the quality of sound is excellent. At an affordable price, this is a treasure.

superb.......2005-09-17

Out of my huge collection of classical music, I find these disks being played more often than almost all the rest!

Great Piano Fireworks.......2004-02-05

This is my favorite recording of Rachmaninov's 2nd! Orozco and de Waart are thrilling right from the very first note. I keep flipping back to Track 1 just to hear the passionate opening movement! I have Ashkenzy, Vasary, and Entremont's recordings of this piece. The spacious engineering and Orozco's riveting performance keep me coming back to this one! The reading of the Rhapsody is also one of my favorites. I have a special attachment to this work, and these performances do not disappoint my picky taste. I hate to say it, but Orozco's technique and interpretation of the Rhapsody rival the performance with Rachmaninov as soloist with the Phila. Orch.
The other pieces in this "two-fer" are exceptional performances as well. I especially love Orozco's brilliance and technique in the G minor prelude--why couldn't I play it like that in piano lessons??? The Vocalise and Liebeslied are lovely arrangments.
For this price, this set is absolutely essential to anyone interested in Classical music! This is THE recording to have!

Rhapsody is best.......2004-01-19

This performance of the Rhapsody is absolutely amazing! The Concerto 2 is pretty intense as well, but get it for the Rhapsody -- it is worth it!

No. of concerto is wrong.......2004-01-04

I thing you made a mistake on your homepage.
The correct title is "Piano Concerto No.2" on "Listen to Sample" as below.

Tracks:

I. Grave - Allegro Ma Non Troppo
II. Allegro Animato
III. Larghetto
IV. Allegro Con Fuoco
The Isle Of The Dead, Op. 29

Rachmaninov: Isle of the Dead Op29; Songs Op34

Average customer rating:

Excellent set
Accept No Substitutes- This is It !
Review of the second symphony only
Competent, slow, steady but uninspired 2nd
buy for 2nd symphony

Rachmaninov: Isle of the Dead Op29; Songs Op34

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

Modern & 20th Century | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Opera & Vocal | Styles | Music

Russian | Languages | Opera & Vocal | Styles | Music
ASIN: B000002S4C
Release Date: 1993-04-13

Tracks:

Symphony No. 1 In D Minor, Op 13: I. Grave
Symphony No. 1 In D Minor, Op 13: II. Allegro Animato
Symphony No. 1 In D Minor, Op 13: III. Larghetto
Symphony No. 1 In D Minor, Op 13: IV. Allegro con fuoco
The isle Of The Dead, Op.29: The Isle Of The Dead, Op. 29

Tracks:

Symphony No.2 In E Minor, Op.27: Largo - Allegro moderato
Symphony No.2 In E Minor, Op.27: Scherzo (Allegro molto)
Symphony No.2 In E Minor, Op.27: Adagio
Symphony No. 2 In E Minor, Op. 27: Finale (Allegro vivace)
Vocalise, Op.34 No.14
Aleko: Intermezzo
Aleko: Women's Dance

Tracks:

Symphony No.3 In A Minor, Op.44: Lento - Allegro moderato - Allegro
Symphony No.3 In A Minor, Op.44: Adagio ma non troppo - Allegro vivace
Symphony No.3 In A Minor, Op.44: Allegro - Allegro vivace
Symphonic Dances, Op.45: Non allegro
Symphonic Dances, Op.45: Andante con moto (Tempo di valse)
Symphonic Dances, Op.45: Lento assai - Allegro vivace

Customer Reviews:

Excellent set.......2005-02-22

An excellent set.

Sym 1, Isle of the Dead and Symphonic Dances are all done extremely well, which is all that matters, since these are Rachmaninov's orchestral works of sheer genius (plus the Bells), in my view.

Pletnev's Rach Sym 1 on DG is pretty good too, but you can't go wrong with this set.

Accept No Substitutes- This is It !.......2005-01-09

Sir Andre and the 1970s LSO had a unique, symbiotic relationship. Together with their Decca Rachmaninov Piano Concertos & Paganini Rhapsody (with Vladimir Ashkenazy), this cycle of the Symphonies (and the other major orchestral pieces) just may be their greatest work ever. The fantastic LSO strings, admittedly lacking the famous post-war Ormandy/Philly gloss, make it easier to take these works more seriously than before. (Granted, R's symphonies are not the Brahms FOURTH, or the Bruckner EIGHTH, but they deserve better than "pops-concert" condescension.) Everything runs deeper.

First off, a respectful nod to all the other reviewers here and a small, salient fact: RACHMANINOV COMPOSED MORE THAN THE SECOND SYMPHONY !!! (And yes, this SECOND is stupendous in its breadth and commitment.)

This FIRST SYMPHONY is pungent, exotic, at times even barbaric...The VOCALISE is bittersweet, not merely sweet. And Sir Andre actually takes the repeat !... The ALEKO fragments are tantalizing. The ISLE OF THE DEAD is no-holds barred and heady...But the real glories of this set are the THIRD and the SYMPHONIC DANCES...They pick up where Ormandy left off, great as Ormandy undoubtedly was with these works (after all, he DID prepare the THIRD's premiere for Stokowski, and conducted the premiere of the DANCES himself- and both under R's supervision).

Throughout the THIRD, you get a whiff of both the Russian countyside AND the American plains, with a Deliusian "sensuous heartbreak." Play the beginning of the THIRD's second movement and be instructed by its ontological sadness; marvel at the sly, compassionate humor of R's sticking a scherzo within an adagio and how this humor plays out at the end of the movement; be uplifted by the gamut of moods which Sir Andre holds together so beautifully in the last movement.

The SYMPHONIC DANCES were originally titled FANTASTIC DANCES- which is a better description of this music...It was to have been a three-movement ballet depicting Noon, Twilight and Midnight. The Noon of the first movement is restless and adolescent in mood (culminating with a regretful quote from the FIRST SYMPHONY, whose undeservedly failed premiere scarred R for life). The second movement (described in several places as a "haunted ballroom") is elfin & ghostly. The final movement of the DANCES is frighteningly deep and modern (in parts of this movement you'll think of Bartok !). By its very end, the DIES IRAE motiv (ever present in R's music) morphs into a kind of phrygian-mode, death-tinged "flamenco-gone-nuts"...But not before all kinds of ethereal encounters with lost youth, regret & sensuality (some faint, swaying echoes of the THE BELLS' 2nd movement: the "golden bells of happiness"), and adoration of God (a pentultimate, jazzed-up quote from R's VESPERS: "Blagosloven Yesi, Gospodi" - "Blessed Art Thou, O Lord").

Sir Andre & his band plunge into all this with a shattering, "total immersion" which will show you why R called the DANCES "my last spark."

Review of the second symphony only.......2001-04-02

Haven't played it for several months. I turned it on to do the review and from the other room I hear "I haven't heard that for awhile, I could listen to that all day". It was Rachmaninov who elevated my musical appreciation to not only appreciate classical music but to become passionate about it. The second symphony is a hypnotic, stirring sojourn into the ether of some nether world of inner peace and symphonic harmony. There is a deliberate slowness throughout, which I thoroughly enjoy. At times you're swept into the whirlwind of strings swirling around you. The first two movements are lovely but compared to the third movement, all falls short. The third movement, one of the finest moments in orchestration and aesthetics, is a melodic and lovely romance between you and the music. The delicate textures weaving in and out are some of the most sensuous and irresistible notes ever created. Then, to your discomfort, comes the fourth movement's tempo which snaps you out of your lull and dreamy easy chair and back into the auditorium. It's was probably necessary for Rachmaninov to bring you back to reality as who could dare wake from this state of symphonic bliss on their own, let alone leave the auditorium. I highly recommend this second symphony for its quality in both it's performance and sound (I suggest you skip the fourth movement and let the ocean's gentle waves wash over you as the sun sets tangerine in the evening sky and all seems right and faraway from the daily grind).

Competent, slow, steady but uninspired 2nd.......2001-03-18

I have only heard the 2nd symphony from this set (in EMI's Great Recordings of the Century remastering, which seems not to be available yet...) so my comments are restricted to that work. Looking at the reviews below, it appears that some people really like this performance. I respect their opinions, but I can only report my own honest reaction to this performance, which is that is is too slow, too uninflected, and ultimately too boring for my taste.

As a reviewer states below, this performance was taped after a successful tour by Previn and the London Symphony Orchestra which showcased the Second. However, the notes in the Great Recordings edition report that the taping took place over a year after the tour ended (although the players wanted it taped immediately). This delay may explain what I hear as a routineness about the performance. There is certainly nothing wrong with the quality of the orchestral playing or the sound engineering (although neither approaches what Ormandy and the Philadelphia achieved in the Sony version of 1959, 12 years earlier). But I just don't hear anything special here.

In all four movements, tempos are consistently on the slow side. What is more, Previn takes a very straightforward interpretative approach, when I feel that this music cries out for the little touches of magic, such as Rachmaninov shows in his own recording of the Third Symphony. Compare with the earlier Ormandy recording: although Ormandy takes similarly steady tempos in the first three movements, his orchestra, especially the strings, knows how to put a little rubato here, a little portamento there, to bring this large work to life. With Previn it just sounds like a play through by a very competent orchestra and conductor.

The one really distinctive feature of this recording is the account of the slow movement. I find it repellent, but others may like it. Previn takes a very slow, gentle, soft-focused approach which reminds me of film music for a Hollywood romance. I yearn for a more passionate and intense approach here, but Previn's way is an interesting alternative.

An important issue in considering any recording of this symphony is that of cuts. Many recordings (particularly older ones) excise large amounts of Rachmaninov's music (up to 25%). The older Ormandy I mentioned above is a tragic example of this. This recording is complete and uncut (with the exception of the first movement repeat). Good for Previn, then. Some British critics get very excited by the fact that before this recording was made, most recordings were cut, and that after it, they tended to be complete -- as if Previn had somehow single-handedly changed the climate for Rachmaninov's music. However, there are older uncut recordings --- for example, Leopold Stokowski's 1946 live performance with the Hollywood Bowl Orchestra and Paul Kletzki's Suisse Romande account. In fact, listening to Previn's performance somethimes made me think that the cuts were a good thing after all.

I would recommend against this account of the 2nd symphony. My favorite account -- by Dmitri Kitaenko (Kitayenko) with the Moscow Philharmonic -- is hard to find. The aforementioned Ormandy is magnificent but heavily cut. Given this, I also suggest Ashkenazy with the Concertgebouw Orchestra or Pletnev with the Russian National Orchestra.

buy for 2nd symphony.......2001-03-10

never mind nos. 1 & 3 -- this is worth buying for no. 2 alone. this is the second digital remastering emi have done of no.2: the first (mid-80's) was horrible -- avoid. this one is much closer to the original 1973 lp. as far as i know, this second remastering of no.2 is only available as part of this set, i.e. not available separately.

previn/lso made this recording shortly after returning from a tour of the soviet union where they performed the work several times. 27 years later, it is still one of the finest recordings of any orchestral work available on record.

Symphonies 1-3 / Piano Concerto 1-4 / Isle of Dead
Average customer rating:

An excellent set now as a compilation.

Symphonies 1-3 / Piano Concerto 1-4 / Isle of Dead

Manufacturer: EMI Classics
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music
General | Classical | Styles | Music
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ASIN: B00006HM8V
Release Date: 2002-11-05

Tracks:

I: Grave - Allegro Ma Non Troppo
II: Scherzo: Allegro Animato
III: Larghetto
IV: Allegro Con Fuoco
The Isle Of The Dead, Op.29

Tracks:

I: Largo
I: Allegro Moderato
II: Allegro Molto
III: Adagio
IV: Allegro Vivace
Scherzo In D Minor
Vocalise, Op.34 No.14

Tracks:

I: Lento - Allegro Moderato
II: Adagio Ma Non Troppo
III: Allegro
I: Non Allegro
II: Andante Con Moto (Tempo Di Valse)
III: Lento Assai - Allegro Vivace

Tracks:

I: Allegro Vivace (Alla Breve)
II: Largo
III: Allegro Vivace (1941 Version)
III: Allegro Vivace (1926 Version)
I: Vivace - Moderato - Vivace
II: Andante
III: Allegro Vivace

Tracks:

I: Allegro Non Troppo E Molto Maestoso
II: Andante Semplice - Prestissimo - Tempo Primo
III: Allegro Con Fuoco
I: Moderato
II: Adagio Sostenuto
III: Allegro Scherzando

Tracks:

I: Allegro Ma Non Tanto
II: Intermezzo: Adagio
III: Finale: Alla Breve
Introduction: Allegro Vivace
Variation 1: (Precedente)
Thema: L'istesso Tempo
Variation 2: L'istesso Tempo
Variation 3: L'istesso Tempo
Variation 4: Piu Vivo
Variation 5: Tempo Precedente
Variation 6: L'istesso Tempo
Variation 7: Meno Mosso, A Tempo Moderato
Variation 8: Tempo 1
Variation 9: L'istesso Tempo
Variation 10
Variation 11: Moderato
Variation 12: Tempo Di Minuetto
Variation 13: Allegro
Variation 14: L'istesso Tempo
Variation 15: Piu Vivo. Scherzando
Variation 16: Allegretto
Variation 17
Variation 18: Andante Cantabile
Variation 19: A Tempo Vivace
Variation 20: Un Poco Piu Vivo
Variation 21: Un Poco Piu Vivo
Variation 22: Un Poco Piu Vivo (Alla Breve)
Variation 23: L'istesso Tempo
Variation 24: A Tempo Un Poco Mosso

Customer Reviews:

An excellent set now as a compilation........2003-07-11

This is a great set of Rachmaninov recordings, which until recently could only be bought in pieces. EMI deserves praise for making these worthy performances, under direction of Mariss Jansons, available in a box set.

Not only as a recording accomplishment but on artistic grounds as well does this set deserve to be offered as a compilation. The piano concertos are all distinguished and really have not received the exposure that they deserve. Mikhail Rudy offers a fine performance throughout. This set, if it is a straight reissue of the previous Piano Concertos, should also include the original, and very interesting, conclusion to the 4th Piano Concerto. The recording of the Tchaikovsky Piano Concerto No. 1 is also a fine work that has been put into this Rachmaninov box set.

In the symphonies Mariss Jansons makes his own unique stamp on these works and the result is very satisfactory throughout. While one may disagree with some elements of his interpretations, such as his election to do the 2nd and 3rd Symphonies without the exposition repeats, one cannot fault his overall approach and vitality.

In addition to the well-known Vocalise, the listener gets the mysterious and rarely-recorded Scherzo as an additional filler piece.

Jansons has created a compilation here that is nearly as comprehensive as those done by Ashkenazy (Decca) and Slatkin (Vox). Overall I would rate this set sonically and artistically slightly below Ashkenazy, but slightly better than Slatkin. I stronly recommend this set as a complement to either compilation.

Rachmaninov: Symphony no. 1 / Isle of the Dead
Average customer rating:
Rachmaninov: Symphony no. 1 / Isle of the Dead
Pletnev , and Russian National Orchestra
Manufacturer: Deutsche Grammophon
ProductGroup: Music
Binding: Audio CD

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ASIN: B00004TL2O
Release Date: 2000-06-02

Tracks:

"The Isle Of The Dead",Symhonic Poem Op.29
Grave- Allegero Ma Non Troppo - Moderato - Allegro Vivace
Allegro Animato
Larghetto9
Allegro Con Fuoco

Rachmaninov: Symphony No. 1, The Isle of the Dead, Die Toteninsel, L'ile Des Morts

Average customer rating:

Rachmaninov: Symphony No. 1, The Isle of the Dead, Die Toteninsel, L'ile Des Morts

Manufacturer: Wea Corp
ProductGroup: Music
Binding: Audio CD
ASIN: B00000DNXN
Release Date: 1990-06-12

Mahler/Rachmaninoff: Symphony No. 1 "Titan"/The Isle Of The Dead

Average customer rating:

Delirious and dramatic Mahler 's First!
Fiery Performances!
Most worthy and gratifying pre-stereo.
Mahler with full energy
If you can get past the sound...

Mahler/Rachmaninoff: Symphony No. 1 "Titan"/The Isle Of The Dead

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Classical Music | The Sony BMG Masterworks Store | Amazon.com Label Stores | Stores | Music
ASIN: B0000029P8
Release Date: 1997-01-14

Tracks:

Symphony No. 1 In D Major 'Titan': I Langsam
Symphony No. 1 In D Major 'Titan': II Kraftig bewegt
Symphony No. 1 In D Major 'Titan': III Feierlich und gemessen, ohne zu schleppen
Symphony No. 1 In D Major 'Titan': IV Sturmisch bewegt-Energish
The Isle Of The Dead

Customer Reviews:

Delirious and dramatic Mahler 's First! .......2005-11-14

Dimitri Mitropoulus conducted an extraordinary performance of this millenary Symphony, impregnating it with an exquisite decadent Viennese taste, visibly accented in the First Movement. The supreme virtuosity of this ensemble is worthy to remark, because in the thirties, was not ranked between the most distinguished ones. That is why the figure of Mitropoulus seems to enhance and even expand through the times. His artistic contribution was simply invaluable in the selected host of notable European personalities who arrived to USA in search of creative freedom and full development of his skills. This version is extraordinary idiomatic, rich in tints and loaded of this nostalgic mood that conjugates the vanished dreams of a lost childhood, the enrapture Vienna landscapes, the fatalism, anguish and desperation of this disturbed composer. There have been countless versions around the First but just a few, to be honest have achieved such grade of interpretative freshness, artistic conviction and loyal commitment like this one. Obviously, the personal condition of Dimitri, his inner demons to hide his homosexuality in those times, worked out as additional ingredient (emotional memory) to accent the oppressive and somber character of the Symphony. Mitropoulus portrayed with such elegance, lyric flight, delirious rapture and engaging flair the kaleidoscopic fates of this emblematic work.

I consider this performance remains between the most distinguished ones ever made to date. The others would be the other version of him conducting the New York Philharmonic, the two famous Horenstein `s reading, the reminded version of Bruno Walter with NYP, Kubelik 's Bavarian Symphony, Bernstein 's Vienna, and Maazel . You may name others too but after listening at least fifty different versions of new releases, something seems to have vanished, a certain spelling essential atmosphere that express that crucial point of transition, the breakthrough of the Post Romantic Tradition and the unavoidable fissure of the existential anguish. Many conductors simply do not want to think the untold spirit hidden beneath the bars and tend to confound the ontological loneliness, and religious fears with a gradual unhinging of the senses.

When you listen this historical recording and the fabulous redemption return in the Last Movement, you will understand with major intensity what I mean.

Don' t doubt it just for a second and buy this treasured CD

Fiery Performances!.......2004-09-12

I first got turned on to Dimitri Mitropoulos when I was in high school, and my band director lent me a copy of Mitropoulos conducting Liszt's Les Preludes and Richard Strauss' Salome's Dance, recorded in the 1950s with the New York Philharmonic (Columbia Masterworks ML-5198, I still haven't returned it). I was totally knocked off my feet by the pummeling of Mitropoulos' frontal-assault method of conducting. I had been mesmerized previously by Fritz Reiner and the Chicago Symphony's Salome, and had thrilled to an old Leopold Stokowski set of 78s of Les Preludes, but that was because of the razor-sharp delineation of Reiner's rendition and the majestic, plush upholstering of Stokowski's lustrous "sound." But, from a 30-plus year old, seemingly innocuous, mono 33 r.p.m.. record came such a forceful impact of sound, literally an aural drive-by shooting.

Later, in the Army, I became a metal-head; Yeah, I still listened to classical, but only to those passion filled recordings I had relished at a younger age. In the early 1980s, there was no-one, absolutely no-one who could come in and step into the void left by the absence of the masters I grew up with, from Toscanini, Ormandy, Stokowski, Munch and Szell, to Leinsdorf, Barbirolli, Reiner, Herrmann and Walter. Then, tragedy struck: Compact Discs. Suddenly, I was out trying to "replace" the wonderful records with which I had grown up. I was lured into buying great new "digital" recordings, with their "infinite" frequency and dynamic ranges, which made all my old vinyl "obsolete."

Unfortunately, after wasting hundreds of dollars, I realised that the most technically advanced digital recordings of garbage still sound like garbage. Oh, well, GIGO. Welcome to the computer era, sucker! I was stuck with crap by Michael Tilson Thomas, Herbert von Karajan, Simon Rattle (for God's sake, please cut that ridiculous hair; you look like a cross between Richard Simmons and "Horshack" from Welcome Back Kotter), and James Levine (ditto on the hair). Occasionally, I came across conductors I liked, such as Lorin Maazel, Vladimir Ashkenazy (a way better conductor than pianist), Esa-Pekka Salonen and Mariss Jansons, but most of those conductors who ushered the listening public into the "digital era" did with their mandate what the Republican Congress did with theirs after winning the 1994 elections. Like a disaffected Republican running to the Libertarians, I headed to the one place a bi-polar man of passion could seek solace: Heavy Metal.

Well, after a decade, I have melded my love for metal and classical into a unified field theory. It's no coincidence; After all, Richard Wagner invented metal (a large brass section augmented by Wagnerian tubas). Compare the Nietzschean overtones to Twilight of the Gods to Motörhead's Sacrifice. Listen closely to Wagner's wall of brass and tubas, and you hear the harbinger of Lemmy's jackhammer bass. I returned to listening to the conductors I grew up with, trading the "scholarly interpretations" of the above mentioned charlatans of sophistication for MEN with real blood running through their veins.

Which brings us to Mitropoulos. This guy's approch to conducting reminds me of no other conductor's. Next to him, even Toscanini comes across as a lightweight; Toscanini's merely an M-60 machine gun next to Mitropoulos' howitzer of sound (don't get me wrong; Toscanini still rules). The closest musical comparison I can make with Mitropoulos as conductor is Kerry King, guitarist for Slayer.

This Isle of the Dead will change your mind about everything you thought about the famous tone-poem after Arnold Böcklin's eerie painting which inspired Rachmaninoff. Very few conductors have that ability: Of the versions I have of Die Toteninsel, all comparisons are merely a matter of degree (though my favourite is the Koussevitzky, also reviewed here). For example, I adore Rachmaninoff's own, but wish he'd not edited so much out of the score (same with the 1954 Ormandy recording); Reiner has a remarkable breadth and line; Ashkenazy's sound is crystal clear and impassioned; Koussevitzky's the darkest - a true Liebestod; and Maazel's is lithe, all sinewy flesh and bone.

But, Dimitri Mitropoulos turns this most tragic and emotional composition into something I never imagined. Without sacrificing its spirit, Mitropoulos attacks the piece head-on. When you think of Isle of the Dead, your mind goes to the imagery of the lonely courier, rowing his gondola full of souls down the River Styx. Mitropoulos' rower becomes General Douglas Mac Arthur, and the island of lost souls becomes the Inchon Landing. The tragic climax to the piece in which I envision the grim reaper cutting a swath with his scythe becomes Barbara Stanwyck standing over her victim in some sordid film noir tale, her pursed lips gently blowing the smoke away from a hot .45. Hey, who wrote this piece anyways, Sergei Rachmaninoff or Miklos Rozsa?

The answer is: It doesn't really matter. This is a performance that would have pleased Rachmaninoff himself. In fact, Rachmaninoff only considered a handful of conductors as being able to do justice to his scores: Gustav Mahler, Leopold Stokowski, Eugene Ormandy and Dimitri Mitropoulos.

Mitropoulos as conductor was the Nietzschean superman incarnate. An story about him in his Minneapolis days centers around an old woman who knew him as a boy in Greece. After attending a concert, the woman went up to Mitropoulos, hugged him, then sternly remonstrated to Mitropoulos "You were supposed to become a priest!" Mitropoulos smiled, then pointed at the podium: "Well, this is my church and there is my pulpit."

Also on this set is Mitropoulos' rendering of Mahler's Titan Symphony, the first - and one of the greatest - ever recorded. It packs the same kind of ordnance he brings to the Rachmaninoff recording. Both are recordings with unabashed chutzpah, without a trace of schmaltz.

Most worthy and gratifying pre-stereo........2004-03-17

It's too bad that these performances by Mitropoulos and the Minneapolis Symphony didn't have the opportunity to be recorded in stereo, and with the kind of expertise exemplified by some of the great sound engineers that followed. One must take what one gets. And one thing you DON'T get is big hall ambience or much ambience at all. But, if you don't mind the dry acoustics--and I certainly didn't--you WILL still somehow get a sense of intimacy and almost palpable realism from the orchestral venue. At least, this is my feeling. At times, it's as if I'm listening to a live radio broadcast. Occasionally, noise effects are heard from musicians moving about the stage, and the sounds conveyed by the instruments are often incredibly life-like. But what about the performances ? Mitropoulos' Mahler First can be characterized as intense, exciting and lyrical. Especially noteworthy is the final movement, performed with great urgency and power. The entire effort is a splendid one. All involved seem to play their hearts out. Technical execution, however, is not of the highest order, but it is fine, and, once again, don't expect the kind of ravishing, big hall acoustics you get from more modern, stereo recordings. In the final analysis, and in spite of the dry sound, I find this a very rewarding musical experience....Otherwise, Mitropoulos delivers an absolutely spellbinding performance of Rachmaninoff's tone poem, Isle of the Dead.

Mahler with full energy.......2003-07-31

Ofcourse it's a mono-recording... but whats the most important in music ? Never heard the finale of Mahler I so exciting !

If you can get past the sound..........2000-03-30

...this is a magnificent performance. In fact, it is the first recording of Mahler's "Titan"...made in 1940...and probably has more historical signifigance than artistic value being that everbody and their pet turtle has recorded this symphony. Excellent liner notes about Dmitri Mitropoulos and his tenure with the Minneapolis Symphony during the 1940's and about how Sony digitally "cleaned up" the original recording. Unfortunately, those with ears used to modern recording techniques might have problems getting past the "tinny" sound. However, if the low-tech recording dosen't bother you, Mitropoulos' passion for this piece come through loud and clear.

Rakhmaninov: Piano Concertos 1-4; Symphonies 1-3; Orchestral Works

Average customer rating:

At this price, you can't go wrong

Rakhmaninov: Piano Concertos 1-4; Symphonies 1-3; Orchestral Works
Sergei Rachmaninov , Tadaaki Otaka , and BBC National Orchestra of Wales
Manufacturer: Nimbus Records
ProductGroup: Music
Binding: Audio CD

Etudes | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

Modern & 20th Century | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

Modern & 20th Century | Historical Periods | Opera & Vocal | Styles | Music

Classical | Box Sets | Stores | Music

Tracks:

Pno Con No.2 in c, Op.18: I. Moderato
Pno Con No.2 in c, Op.18: II. Adagio Sostenuto
Pno Con No.2 in c, Op.18: III. Allegro Scherzando
Pno Con No.1 in f#, Op.12: I. Vivace
Pno Con No.1 in f#, Op.12: II. Andante
Pno Con No.1 in f#, Op.12: III. Allegro Vivace

Tracks:

Pno Son No.2 in b flat, Op.36: I. Allegro Agitato
Pno Son No.2 in b flat, Op.36: II. Non Allegro-Lento
Pno Son No.2 in b flat, Op.36: III. Allegro Molto
Pno Con No.3 in d, Op.30: I. Allegro Ma Non Tanto
Pno Con No.3 in d, Op.30: II. Intermezzo: Adagio
Pno Con No.3 in d, Op.30: III. Finale (Alla Breve)

Tracks:

Pno Con No.4 in g, Op.40: Allegro Vivace
Pno Con No.4 in g, Op.40: Largo
Pno Con No.4 in g, Op.40: Allegro Vivace
Vars On A Theme Of Corelli, Op.42: Them Andante/Var I: Poco Piu Moso/Var II: L'istesso Tempo...
Rhap On A Theme Of Paganini, Op.43: Intro: Allegro Vivace/Var I: (Precedente)/Tema: L'istesso Tempo.

Tracks:

Sym No.1 in d, Op.13: Grave-Allegro Ma Non Troppo
Sym No.1 in d, Op.13: Allegro Animato
Sym No.1 in d, Op.13: Larghetto
Sym No.1 in d, Op.13: Allegro Con Fuoco-Grave
4 Etudes-Tableaux, Op.39: The Sea And Seagulls, Op.39 No.2
4 Etudes-Tableaux, Op.39: Red Riding Hood And The Wolf, Op.39 No.6
4 Etudes-Tableaux, Op.39: Funeral March, Op.39 No.7
4 Etudes-tableaux, Op.39: March, Op.39 No.9

Tracks:

Sym No.2 in e, Op.27: I. Largo-Allegro Moderato
Sym No.2 in e, Op.27: II. Allegro Molto
Sym No.2 in e, Op.27: III. Adagio
Sym No.2 in e, Op.27: IV. Allegro Vivace
Vocalise, Op.34 No.14

Tracks:

The Isle Of The Dead, Op.29
Sym No.3 in a, Op.44: I. Lento-Allegro Moderato
Sym No.3 in a, Op.44: II. Adagio Ma Non Troppo-Allegro Vivace-Tempo Come Prima
Sym No.3 in a, Op.44: III. Allegro

Customer Reviews:

At this price, you can't go wrong.......1999-03-02

Six CDs for under $30, all in glorious Nimbus digital sound, with a couple of really good performances.... you cannot go wrong. No, this set will not displace Ashkenazy, Previn, Argerich, Stokowski and other famous artists who've recorded these works in more definitive performances. However, it's a great way to get to know this music, and several of the performances (the 3rd piano concerto and 3rd Symphony) are competitive. At a higher price, I'd have given it 4 stars, but it earned an extra star for excellent value.

RACHMANINOV: Symphony No. 1 - Isle of the Dead

Average customer rating:

Extraordinary Performances

RACHMANINOV: Symphony No. 1 - Isle of the Dead
USSR Symphony Orchestra
Manufacturer: Regis Records
ProductGroup: Music
Binding: Audio CD

Customer Reviews:

Extraordinary Performances.......2007-07-06

The recording of the Rachmaninov First Symphony by Evgengy Svetlanov and his USSR State Symphony Orchestra is the best recording of this work available; it is an unforgettable experience that brings forth the tragic elements of the music with such gripping force as no other recording has before or since. I was fortunate to attend a performance of the symphony given by Maestro Svetlanov and the USSR State Symphony, and this recorded performance remains for me a reminder of the cataclysmic power of that occasion.

Regis has re-mastered the recording from the original tapes and there is a significant improvement in the sound but there remains the distortion occurring when the full orchestra and percussion play. I do not mind some of the distortion; it seems that as the orchestra plays the shattering conclusion of the symphony goes hand-in-hand with the emotion of the music. The recording of the Isle of the Dead is one that I had on LP and it has been perfectly transferred to CD. Maestro Svetlanov and the USSR State Symphony marvelously capture the architecture of the piece taking a good steady tempo and playing with great feeling. If you don't know these recording you owe it to yourself to experience two remarkable performances.

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1. "The Isle Of The Dead",Symhonic Poem Op.29
2. Grave- Allegero Ma Non Troppo - Moderato - Allegro Vivace
3. Allegro Animato
4. Larghetto9
5. Allegro Con Fuoco