SERGE RACHMANINOFF

‘In my own compositions, no conscious effort has been made to be original, or Romantic or Nationalistic, or anything else.What I try to do, when writing down my music, is to make it say simply and directly that which is in my heart when I am composing.’ Thus Rachmaninov responded when others tried to pigeon-hole his work. Nevertheless, he embodied the brooding composer/virtuoso stereotype of the previous era and he upheld the Romantic tradition – in particular that of his idol, Tchaikovsky – with his expansive and lyrical music. Neeme Järvi has an enormous catalogue on the Chandos label, and is particularly renowned for his recordings of Russian music.These recordings of late works by Rachmaninov, newly combined on
one disc, are still regarded by many as top choices for the repertoire.

A very strong disc of popular works by Rachmaninov.

A generous coupling representing great value for money.


Symphony No. 3 was written between June 1935 and June 1936, largely at the composer’s villa overlooking Lake Lucerne in Switzerland. It was first performed in the USA in November 1936 and in London a year later, almost thirty years after the first performance of his previous symphony. In three movements it is the shortest of the symphonies and while it does contain wide-spanning tunes similar to those in the Second Symphony, it has a quite different character. The colourful and characteristic orchestration and the melodic invention proclaim its composer, but the quixotic sudden changes of mood, the clear-cut form, the often transparent textures and the concern with counterpoint were new developments, and possible reasons why the work was somewhat coolly received at first. The vigour and modernism of the score is perhaps better appreciated in retrospect.

The Symphonic Dances, composed at Orchard Point, Long Island, New York, in 1940, was Rachmaninov’s last composition. It was dedicated to Eugene Ormandy (his friend and colleague) and the Philadelphia Orchestra. Critical reaction was, once again, unfavourable (one critic described it as ‘a rehash of old tricks’). As for the public, they were less judgemental, and time has ensured that the work has won a secure place in the orchestral repertoire. The work is a symphony in all but name – substantial in proportion and rich in thematic workmanship. As a concert piece it was effectively conceived to display the brilliance of this orchestra in all departments. Yet despite its ‘American’ cosmopolitanism and technical polish it remains essentially Russian in its brilliant orchestration and rhythmic verve.

…with superb playing from the LSO… the intensity is magnetic…
The LSO under the energetic Järvi… have the measure of it with exciting results, and the recording, from a London church, is in the best Chandos style.
Järvis crucial ability to evoke and sustain atmosphere is ideally suited to a work where so much lies beneath the surface.


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