There are two sides to the music of Sergei Rachmaninoff. There's the lush melodist who took Russian Romanticism well into the middle of the 20th century and compelled attention even as other composers were going in wholly different directions, and, though it's less recognized, there's the technician. The master orchestrator who rivaled Tchaikovsky in sustaining a musical arc over vast periods and in the variety of devices he used to do so. It is too simple to say that "Russian" Rachmaninoff emphasizes the first, and ...
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There are two sides to the music of Sergei Rachmaninoff. There's the lush melodist who took Russian Romanticism well into the middle of the 20th century and compelled attention even as other composers were going in wholly different directions, and, though it's less recognized, there's the technician. The master orchestrator who rivaled Tchaikovsky in sustaining a musical arc over vast periods and in the variety of devices he used to do so. It is too simple to say that "Russian" Rachmaninoff emphasizes the first, and "British" Rachmaninoff the second, but it's accurate enough for Sir Simon Rattle, who has conducted a lot of Rachmaninoff and has already recorded the Symphony No. 2 in E minor, Op. 27 twice, once on video. Those who love Rachmaninoff for the big tunes and heavily nostalgic chains of suspensions might look elsewhere, perhaps to an oldie-but-goodie recording of the work by these same forces, the London Symphony Orchestra, led by Gennady Rozhdestvensky. However, the inner workings of the...
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