Sergei Rachmaninov (1873-1943)
Performers: Minnesota Orchestra/Eiji Oue
Recorded: May/June 2001, Orchestra Hall, Minneapolis
Label: REFERENCE RECORDINGS RR-96 HDCD [67.06]
Symphonic Dances, Op. 45; Vocalise, Op. 34; Etudes-Tableaux (orchestrated by Respighi from Op. 33 and 39)
In this recent release from Reference Recordings, Eiji Oue and the Minnesota Orchestra present a compelling interpretation of Rachmaninov’s final orchestral work, the Symphonic Dances, alongside two other significant pieces that showcase the composer’s evolution and the artistry of orchestrator Ottorino Respighi.
The Symphonic Dances, composed in 1940, marks a departure from the lush, romantic textures of Rachmaninov’s earlier works, revealing a more sophisticated handling of orchestral color and rhythmic vitality. The three movements, while rooted in the composer’s characteristic melodic richness, unfold with a clarity that contrasts the dense textures often associated with his earlier style. Oue adeptly navigates the intricate landscape of the score, bringing forth the vibrant hues and dynamic contrasts that are essential to its character.
The first movement, marked Non Allegro, begins with a haunting theme introduced by the strings, an invitation into a world that oscillates between nostalgia and foreboding. Oue’s decision to maintain a steady pulse allows the melodic fragments to coalesce organically, culminating in a resplendent climax that underscores Rachmaninov’s gift for thematic transformation. This sense of evolution is further emphasized in the second movement, Andante con moto (tempo di valse), where the waltz rhythms create a buoyant atmosphere. Oue’s sensitivity to the contrasting moods within this movement is commendable; he captures the delicate interplay between the ethereal and the dramatic, enhancing the unity of the work as a whole.
However, the final movement, Lento assai, presents the greatest interpretative challenge, often leading conductors astray into a realm of bombastic display. Here, Oue’s restraint is particularly effective; he avoids the temptation of overindulgence, ensuring that the inherent drama of the music is balanced with the necessary rhythmic integrity. The Minnesota Orchestra’s execution is robust yet refined, the brass and woodwinds achieving a superb blend that evokes both power and poignancy. The blazing conclusion stands as a testament to Rachmaninov’s genius, underlining the symphonic aspirations of the piece rather than relegating it to mere ballet fodder.
In juxtaposition, the Vocalise, a relatively early work from 1912, serves as a poignant contrast to the Symphonic Dances. At just under seven minutes, it may often be dismissed as an inconsequential filler, but here it reveals the evolution of Rachmaninov’s lyrical voice. The lush orchestration, brought to life by Oue, elegantly showcases the fluidity of the vocal line, allowing the orchestra to breathe in symbiotic harmony with the melody. The clarity of recording further enhances this experience, making it a highlight of the disc.
The five Etudes-Tableaux, orchestrated by Respighi, offer a fascinating glimpse into Rachmaninov’s piano oeuvre, though they lack the structural cohesion found in the Symphonic Dances. Respighi’s orchestration is skillfully executed, yet one cannot help but feel that it falls short of the inventiveness Rachmaninov himself would have infused into these works. The orchestrated pieces, while exhibiting a certain charm, do not resonate with the same depth as the original piano works. They provide intriguing insights but ultimately feel disconnected from the vivid narrative that characterizes Rachmaninov’s best works.
The recording quality of this disc deserves particular mention. The engineers have achieved a splendid balance that captures the Minnesota Orchestra’s sound with remarkable fidelity. The acoustic of Orchestra Hall, as suggested by the clarity and warmth of the recording, plays a significant role in conveying the detailed textures and dynamic contrasts inherent in Rachmaninov’s music. Strings shimmer with precision, and the brass resound with a brilliance that enhances the overall impact without overwhelming the nuanced inner voices.
In conclusion, this recording stands as a vital contribution to the Rachmaninov discography, particularly for its interpretation of the Symphonic Dances. Eiji Oue and the Minnesota Orchestra bring an admirable combination of sophistication and vitality, breathing new life into this orchestral masterpiece. While the Vocalise and Etudes-Tableaux provide interesting context, it is the Symphonic Dances that truly shines, revealing Rachmaninov’s mastery of orchestration and thematic development. This disc is not only an aural pleasure but also an essential exploration of Rachmaninov’s late style, making it a worthwhile addition to any collection.
