Valery Gergiev, Kirov Orchestra. Newton Classics 8802082.
When Sergei Rachmaninov (1873-1943) premiered his Symphony No. 2 in E minor, Op. 27, in 1908, he probably had no idea that his ultraromantic creation would someday compete in the basic classical repertoire with anything his predecessor, Peter Tchaikovsky, had written. He just wanted to write a piece of music that would at least equal the success of his own Second Piano Concerto. Today, you'll find a plethora of Rachmaninov Second Symphony recordings in the catalogue, so given the work's popularity, there is no question why Newton Classics decided to re-release this one in 2011, a recording originally made by Valery Gergiev and the Kirov Orchestra for Philips in 1993. Although Gergiev's rendition may not top the charts, it is a safe and sane approach to the score.
The opening Largo is big and lush, with Gergiev adding nothing of his own, which in this case might have been a little too unflattering. Previn (EMI), Pletnev (DG), Ormandy (Sony), Ashkenazy (Decca), and others put more of themselves into the music, making it a tad more affecting. Naturally, there are critics who believe that Rachmaninov's music is already too florid, too ornate, too overly romantic, and needs no further amping up by a conductor, a claim with which I wholly agree. However, there is still some need of an interpretation involved; otherwise, a machine, a metronome, could conduct the music. Not that Gergiev is a machine, but by observing the exposition repeat and adopting a leisurely pace, it makes the first movement one of the longest I've heard. I would have preferred a bigger, more sweeping, more dynamic approach, but maybe that's just me. Certainly, this is a most-lyrical reading, if a little plain.
In the rest of the symphony, Gergiev picks up the tempo. The Scherzo has plenty of zip, although it, too, seems a little undernourished in terms of pure intensity. The conductor appears determined to connect everything, even at the expense of losing some energy in the process. When he does speed things up, it seems almost an afterthought and stands in stark contrast with everything that went before, not always making for a smooth continuity. Despite this, the conductor produces more than a few moments of requisite excitement.
Next comes the famous Adagio, which in terms of its love interest vies with Tchaikovsky's Romeo and Juliet Fantasy Overture for sheer passionate fervor. Gergiev and his solo clarinet player take it to appropriately poetic heights, the rich Philips sound pouring around our ears like melted butter.
When it comes to Rachmaninov's finale to the symphony, it should be both highly Romantic and triumphantly heroic, and Gergiev gives it his best shot. He closes the show in a blaze of triumph that maybe doesn't dismiss one's admiration for the aforementioned conductors but at least gains one's respect. While Gergiev is certainly more low-key than many of his rivals, he maintains his vision for the music throughout the four movements and never lets go. And, admittedly, it is a levelheaded vision.
Philips recorded the music at the Marinsky Theater, St. Petersburg, in 1993. Like most of the little jewels that came from Philips, it sounds spacious, slightly warm, and a touch soft, with a modest stage depth and a lovely ambient bloom. The sound nicely complements the music and Gergiev's interpretation of it, the natural orchestral glow further romanticizing Rachmaninov's rapturous melodies without sacrificing too much detail or definition.
Meet the Staff
John J. Puccio, Editor, Publisher, Reviewer
Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on the Big Jon and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.
Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.
Bryan Geyer, Technical Analyst
I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.
Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.
Karl W. Nehring, Contributing Reviewer
For more than 20 years I was the editor of The $ensible Sound magazine and a regular contributor to both its equipment and recordings review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simple-minded, but I know I appreciate reading reviews by others that do the same for me — point out recordings that they think I might enjoy.
For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises Marantz CD 6007 and Onkyo CD 7030 CD players, NAD C 658 streaming preamp/DAC, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE loudspeakers. I also do a lot of listening while driving in my 2016 Acura RDX with its nice-sounding ELS Studio sound system through which I play CDs (the ones I especially like I rip to the Acura’s hard drive so that I can listen to them whenever I want) or stream music through the system using my cell phone. For more casual listening at home when I am not in my listening room, I often stream music through the phone into a Vizio soundbar system that has remarkably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom Bluetooth speaker for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can’t imagine life without music and I am humbly grateful for the technology that enables us to enjoy it in so many wonderful ways.
The reader will find Classical Candor's Mission Statement, Staff Profiles, and contact information (firstname.lastname@example.org) toward the bottom of each page.
William (Bill) Heck, Contributing Writer
Among my early childhood memories are those of listening to my mother playing records (some even 78 rpm ones!) of both classical music and jazz tunes. I suppose that her love of music was transmitted genetically, and my interest was sustained by years of playing in rock bands – until I realized that this was no way to make a living. The interest in classical music was rekindled in grad school when the university FM station serving as background music for studying happened to play the Brahms. As the work came to an end, it struck me forcibly that this was the most beautiful thing I had ever heard, and from that point on, I never looked back. This revelation was to the detriment of my studies, as I subsequently spent way too much time simply listening, but music has remained a significant part of my life. These days, although I still can tell a trumpet from a bassoon and a quarter note from a treble clef, I have to admit that I remain a nonexpert. But I do love music in general and classical music in particular, and I enjoy sharing both information and opinions about it.
The audiophile bug bit about the same time that I returned to classical music. I’ve gone through plenty of equipment, brands from Audio Research to Yamaha, and the best of it has opened new audio insights. Along the way, I reviewed components, and occasionally recordings, for The $ensible Sound magazine. Most recently I’ve moved to my “ultimate system” consisting of a BlueSound Node streamer, an ancient Toshiba multi-format disk player serving as a CD transport, Legacy Wavelet DAC/preamp/crossover, Tandberg 2016A and Legacy PowerBloc2 amps, and Legacy Signature SE speakers (biamped), all connected with decently made, no-frills cables. With the arrival of CD and higher resolution streaming, that is now the source for most of my listening.
It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.
When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.
So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job. --John J. Puccio
Readers with polite, courteous, helpful letters may send them to email@example.com
Readers with impolite, discourteous, bitchy, whining, complaining, nasty, mean-spirited, unhelpful letters may send them to firstname.lastname@example.org.