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Tchaikovsky: Swan Lake Suite; Rachmaninov: Symphonic Dances / Temirkanov

Release Date: 02/22/2011 
Label:  Signum Classics   Catalog #: 229   Spars Code: DDD 
Composer:  Peter Ilyich TchaikovskySergei Rachmaninov
Conductor:  Yuri Temirkanov
Orchestra/Ensemble:  St. Petersburg Philharmonic Orchestra
Number of Discs: 1 
Recorded in: Stereo 
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Notes and Editorial Reviews

For some years now Signum have been spreading their wings beyond the solo, chamber, choral and organ territories I used to associate with their name. This is the fourth of the label’s St Petersburg/Temirkanov series: Verdi Requiem (SIGCD184), Shostakovich’s Symphony No. 7 (SIGCD194) and Prokofiev Cinderella/Romeo and Juliet Orchestral Suites (SIGCD214).

Temirkanov is under-appreciated and his Tchaikovsky is doughty as the old RCA-BMG symphony series goes to show. His Swan Lake suite – the first of two dance-related works here - is full-on and thoroughly enjoyable. Quite apart from the usual swooning highlights I was struck by his Danse Napolitaine in which these forces embrace the Capriccio Italien-style bombast of the piece
Read more in an unembarrassed bear-hug.

The suite comprises:-

Act II, No.10: Scene
Act I, No.2: Valse
Act II, No.13/iv: Danses des Cygnes
Act II, No.13/v: Pas d’action
Act III, No.20: Danse Hongroise, Czardas
Act III, No.21: Danse Éspagnole
Act III, No.22: Danse Napolitaine
Act III, No.23: Mazurka
Act III, No.27: Danses des petis Cygnes
Act III, No.29: Scène Finale

Turning to the Rachmaninov … Temirkanov obviously has a penchant for the Symphonic Dances. He has several CDs of the work in his discography: BMG-RCA 09026 62710 2 and one of his Proms performance in 2004 on Warner 2564 62050-2. The Signum version is particularly passionate and the middle movement boils, bubbles, rips and snorts with a will. The woodwind solos are done with great skill and a pleasing sense of caring and shaping is present that I have not heard before. The final dance roars and swoons mightily and Temirkanov insists on and gets plenty of grunting attack.

The Lucerne acoustic produces a more grittily immediate sound image than that for St Petersburg – not much in it but the difference is there as you can hear in the prominence asserted by the percussion. The recording generally reports plenty of detail and is assertively kind to the saxophone in the Rachmaninov.

The useful note by M. Ross reminds us how devastated Rachmaninov was by the poor reception of his Symphonic Dances’ 1941 premiere at Philadelphia. It was the 70-year old composer’s first major work to have been written entirely in the USA.

The audience are quiet in both works but their outburst of applause at the end of the Rachmaninov tramples on the decay of the tam-tam which really should have been allowed to ‘vibrer’ into black silence.

-- Rob Barnett, MusicWeb International
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Works on This Recording

Swan Lake Suite, Op. 20a by Peter Ilyich Tchaikovsky
Conductor:  Yuri Temirkanov
Orchestra/Ensemble:  St. Petersburg Philharmonic Orchestra
Period: Romantic 
Written: 1875-1876; Russia 
Symphonic Dances, Op. 45 by Sergei Rachmaninov
Conductor:  Yuri Temirkanov
Orchestra/Ensemble:  St. Petersburg Philharmonic Orchestra
Period: Romantic 
Written: 1940; USA 

Customer Reviews

Average Customer Review:  1 Customer Review )
 WHAT A BALLET THE DANCES WOULD MAKE! September 18, 2014 By Zita Carno (Tampa, FL) See All My Reviews "One time the composer was attending a rehearsal of the "Symphonic Dances" by the Philadelphia Orchestra, and he kept interrupting, insisting the tempo in the first movement was too slow. Finally he rushed up to the podium, grabbed a pencil, and advised the orchestra: "You see the tempo marking in the first movement---'Non allegro'? My mistake. I goofed. Take a pencil and delete the 'non'." This done, the rehearsal resumed with the movement taken at a faster tempo---about 132 to the quarter note---and Rachmaninoff was satisfied. So why do so many conductors persist in dragging the tempo, playing it closer to "adagio con schleppo"? I have heard a number of performances where the conductors disregarded the "non" and played that movement the way it should have been marked. Bravo to them! I have heard Seiji Ozawa do it with the Boston Symphony. I would have loved to hear Szell do it with Cleveland. Well, here's one that should fill the bill: Temirkanov, who not only takes that first movement at the right tempo but also provides the ideal setting for what would be a terrific ballet. That third movement, by the way, is a real honest-to-gosh "Danse Macabre"---I would certainly program it alone for a Halloween spectacular. (sigh) If I were a choreographer..." Report Abuse
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