Lorin Maazel, Berliner Philharmoniker - Rachmaninov: Symphony No.3, Symphonic Dances (1991)
Lorin Maazel, Berliner Philharmoniker - Rachmaninov: Symphony No.3, Symphonic Dances (1991)
EAC | FLAC | Image (Cue & Log) ~ 284 Mb | Total time: 70:00 | Scans included
Classical | Label: Deutsche Grammophon | # 429 981-2 | Recorded: 1981, 1983
EAC | FLAC | Image (Cue & Log) ~ 284 Mb | Total time: 70:00 | Scans included
Classical | Label: Deutsche Grammophon | # 429 981-2 | Recorded: 1981, 1983
There are compositions whose title sounds purposely reductive, and these certainly include Symphonic Dances, Rachmaninov's last composition, so the name of symphony would not seem usurped even if the form does not correspond to the classical one.
In any case, it is one of the most mature and inspired creations of the Russian composer, both for the height of the thematic material and for the refinement of the orchestral writing. The first movement renews on a larger scale the miracle that took place in the famous piano prelude in G minor, of sublimating an asymmetrical and apparently coarse thematic figure, making it assume unexpectedly intense and articulated expressive values: to note, on the timbric level, certain subtleties like the dialogue between tenor saxophone and English horn in the lyric interlude. The second movement is part of the genealogy of the "sad waltzes", alongside that of Sibelius and those of the third Suite and the fifth Symphony of Tchaikovsky, but with an additional sense of modern stylization surrounded by elusive and ghostly reflections. What makes its mark, however, is above all the finale, where a Spanish dance rhythm (of a stylized and angular Spanishism of Ravelian ancestry) merges with the motif of the Dies Irae, which had already made a fleeting appearance towards the end of the first half, so that the author seems to take leave of life by literally dancing with death.
The Dies Irae, very dear to Rachmaninov's sensibility (think of the role it assumed in the Rhapsody on a theme by Paganini), is also evoked in the finale of the Third, the most synthetic and modern of his symphonies. Structured in three movements, with the scherzo incorporated within the adagio and the ending marked by fugitive engravings (one would think of the model of the Quintet op. 88 by Brahms, if it were not an author totally alien to Rachmaninov's sensibility), the symphony is based on thematic material quite similar to that of the last two piano concertos, but with a more subtle and sharper instrumentation, which at times reaches results of stylized, almost Stravinsky dryness: in the first movement, it is worth noting the parody and almost ghostly in which the popular motif of Kamarinskaya is fleetingly evoked.
Lorin Maazel (here at the helm of the Berliners in the early Eighties) has often expressed the best of his potential precisely in highlighting the nuances and ambivalences of this tonal repertoire of the twentieth century in an unstable balance between modernity and tradition.
Performer:
Berliner Philharmoniker
Lorin Maazel, conductor
Track List:
Symphony No. 3 in A minor, Op. 44
01. I. Lento - Allegro moderato - Allegro
02. II. Adagio ma non troppo - Allegro vivace
03. III. Allegro - Allegro vivace
Symphonic Dances, Op. 45
04. I. Non allegro
05. II. Andante con moto (Tempo di valse)
06. III. Lento assai - Allegro vivace - Lento assai come prima
Exact Audio Copy V1.0 beta 3 from 29. August 2011
EAC extraction logfile from 12. July 2012, 13:16
Lorin Maazel / Rachmaninov - Symphonie No.3, Symphonische Taenze - Maazel
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Filename F:\Ripped general\[0928] Rachmaninov - Symphonie No.3, Symphonische Taenze - Maazel\Rachmaninov - Symphonie No.3, Symphonische Taenze - Maazel.wav
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Track 2 accurately ripped (confidence 2) [8C2BCE24] (AR v2)
Track 3 accurately ripped (confidence 2) [F048D899] (AR v2)
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Track 6 accurately ripped (confidence 3) [EF4750CB] (AR v2)
All tracks accurately ripped
End of status report
Lorin Maazel, Berliner Philharmoniker - Rachmaninov: Symphony No.3, Symphonic Dances (1991)
Thanks to the original releaser