In the end, Slatkin seems a little too well groomed for this highly charged music. Petersberg Philharmonic, an orchestra that has long had this music in its blood. Who knows what treasures might be awaiting you there.
In brief, these are the greatest versions of the symphonies that I know. The critical failure of his First Symphony, the fiasco of its premiere, had sent Rachmaninoff into analysis with a severe depression that the popularity of the Second Concerto had only partially relieved.
Still, I find something missing. Though hardly inexpressive, Slatkin keeps things moving purposefully along, and resists the temptation to stop and admire the scenery.
His approach emphasizes the symphonic structure, but sometimes does so at the expense of its emotional content. If I had to recommend one performance of the work, this would be it. Rachmaninoff poured his heart into the new work, but he was also meticulous in constructing it.
In his hands, the music seems episodic, less like a symphony than a tone poem. Yuri Temirkanov can be a very uneven conductor: There are, of course, other choices: The scherzo is rushed, hectic, the lilting second theme stodgy and inert.
It is wonderful to have the Detroit Symphony recording again, especially in such transparent sound. This performance is not recommended. Happily, there are other choices available. The Second is the prize of the lot, and also happens to be the first recording of the complete, uncut version of the symphony.
I also have a fondness for the idiosyncratic Mikhail Pletnev, who in this instance is convincingly fresh, invigorating, and individual.
In the finale, Gergiev again presses forward too quickly, making the triumphant ending seem like a series of anticlimaxes. His interpretation is greatly enhanced by the playing of the St. It was no mistake that the first work he produced during this long sabbatical was the Second Symphony.
He also delivers a surprisingly peppy Vocalise. The second and fourth movements fare no better. In any case, they sound terrific here, and incredibly outmatch the London Symphony in tonal beauty and intensity of expression.
The result is a symphony that seems more kinetic, lighter on its feet, less brooding or melancholic. His sound is brighter, his textures leaner and more transparent.
Whether he did so or not remains a matter of some critical conjecture, but it does at least suggest the problem facing any conductor who approaches the work:[C#m D B G#m F#m C# G# F# D#m D# Fm E A#m A G Em Am] Chords for Vocalise (Rachmaninov): Natalie Dessay.
with capo tuner, play along with guitar, piano & ukulele.
Vocalises / Natalie Dessay, Schönwandt, Berliner S with Dessay, Natalie on CD. Order from your preferred classical music CD store - ArkivMusic. Great prices. Best service. Fast delivery. Rachmaninov’s Vocalise was originally written for voice and orchestra as the final piece in his ‘Fourteen Songs’, Op.
But because the piece has no text and can be sung to a vowel the singer chooses, it lent itself to instrumental arrangements. The proper place for the performance of vocalises is in the singing studios” wrote a sung as agreeably as are the various items in this recital by Natalie Dessay.
Vocalise (Rachmaninov) by Natalie Dessay - Pandora. "Vocalise" is a song by Sergei Rachmaninoff, composed and published in as the last of his 14 Songs or 14 Romances, Op. Written for high voice with piano accompaniment, it contains no words, but is sung using any one vowel of the singer's choosing.
It was dedicated to soprano Antonina Nezhdanova.
Inspiration Vocalise: Best of Rachmaninov. CD 1 Aug Barcode: Composer: Sergei Rachmaninoff Other participants: Sir Simon Rattle, Natalie Dessay.Download