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Rachmaninoff: Symphony No. 1 - Wilson

Rachmaninoff: Symphony No. 1 - Wilson

Chandos  CHSA 5351

Stereo/Multichannel Hybrid

Classical - Orchestral


Sinfonia of London
John Wilson (conductor)

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Review by Graham Williams - April 28, 2025

With this release John Wilson and his superb Sinfonia of London complete their survey of the three Symphonies and other orchestral works of Rachmaninoff for Chandos. The coupling of these two pieces on this SACD is especially apt, since they span the composer’s creative journey from youthful intensity to mature reflection. Intriguingly, the theme from the final movement of the First Symphony reappears in the ‘Symphonic Dances’, thus linking the two works across decades.

Those familiar with John Wilson’s many recordings with the Sinfonia of London will know exactly what to expect from these performances. Orchestral playing of breathtaking precision and bracing verve combined with discipline and outstanding technical security. Wilson’s avowed love of Rachmaninoff’s music shines through in both works and, as usual with this conductor, his attention to detail is both meticulous and rewarding for the listener.

Rachmaninoff’s First Symphony was written in 1895 when the composer was just 22 years old. However, its first performance in 1897 was a complete disaster. It was badly conducted by Alexander Glazunov and dammed by the critics. When Rachmaninoff went into exile in 1917 the score was left in Russia and subsequently lost. In 1944, after the composer's death, the separate instrumental parts of the symphony were discovered in the Leningrad Conservatory and used to reconstruct the full score. Wilson’s account of this still somewhat neglected work is gripping throughout. From the dramatic opening Wilson carries the musical argument with unerring expertise. Tempi in each of the four movements are felicitous and close to those adopted by Vladimir Ashkenazy on his celebrated (RBCD) recording from 1983 for Decca. Wilson captures the refined melancholy of the Larghetto just as convincingly as the turbulent energy of the finale, complete with its crashing tam-tam strokes. It is, in every respect, a masterly account of this symphony.

Many regard the ‘Symphonic Dances’(1940) as Rachmaninoff’s finest orchestral work. Since its premiere by the Philadelphia Orchestra under Eugene Ormandy, it has steadily grown in popularity and has received many fine performances on disc. Wilson emphasizes the work’s rhythmic drive and structural clarity, opting for brisk tempos that heighten excitement and momentum. While this approach does slightly downplay the brooding introspection and nostalgic melancholy of the slower sections, the overall interpretation is undeniably thrilling. The Sinfonia of London responds with blazing virtuosity and infectious energy, particularly in the syncopated vitality of the first dance and the menacing grandeur of the finale. It only remains to state, simply for reference, that the final tam-tam stroke in the third dance is curtailed rather than left to resonate into silence as on some other recordings.

Both the Symphony and the ‘Symphonic Dances’ are presented in new editions of the scores; the former by Ed Liebrecht and the latter by Wilson himself. I doubt though that many listeners would detect any differences from what we hear on other performances of these pieces.

The recordings made by the usual expert Chandos team of Ralph Couzens and Brian Pidgeon took place in the Church of St Augustine, Kilburn, London in January and October 2024 and sound on this hybrid multichannel SACD is characteristically excellent – clean, spacious and boasting a wide dynamic range.

Those who have enjoyed Wilson’s previous Rachmaninoff recordings will undoubtedly want to add this distinguished release to their collection.

Copyright © 2025 Graham Williams and HRAudio.net

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Comments (10)
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Comment by hiredfox - May 7, 2025 (1 of 10)

How does this recording compare to the many other recordings on SACD, Graham?

Comment by Graham Williams - May 9, 2025 (2 of 10)

An impossible question to answer John as I have not heard every one of the other available recordings of these two works.

Comment by DYB - May 13, 2025 (3 of 10)

I've heard the 2nd Symphony and the Symphonic Dances from this cycle and I must say I personally found it to be just ok. Nicely played and recorded, but lacking in excitement for me.

By contrast I just listened to most of Cristian Măcelaru's cycle (with WDR Sinfonieorchester) on Linn and it's absolutely thrilling. Although it's missing the Symphonic Dances, which is a strange omission when you record the 3 Symphonies and a couple tone poems.

Comment by Adrian Quanjer - May 19, 2025 (4 of 10)

Rachmaninoff’s first symphony is prone to obtaining contradictory appreciation. DYB's pertinent comments prompted me to listen once more to Gabriel Feltz and his Dortmunder players. It led me to conclude that where Graham is right about John Wilson's perfection, DYB is right about excitement. Feltz may be less precise in his (live) reading, but whoever would prefer ‘savage’ excitement over considered perfection should listen to his ‘con fuoco’ in the fourth movement. Amazing! But, as always, a matter of personal taste.

Comment by Paul Peterson - May 22, 2025 (5 of 10)

I was looking forward to this release. I was disappointed, especially by the sonics.

Compared to my favorite recordings of these works, both on Bis, I found this recording presented a mostly flat and muddled soundstage. Conspicuously absent was most percussion, most notably in the scherzo of the first symphony and throughout the Dances.

I highly recommend the Bis recordings, however.

Comment by philip edwards - May 22, 2025 (6 of 10)

Dave Hurwitz on Youtube (as expected) thinks it’s terrible, but his analysis is very interesting.

Comment by Peter Martin - May 25, 2025 (7 of 10)

Does anyone else find Chandos SACDs to be edgy and harsh in the strings? The better my playback equipment has become during the past decade, the worse Chandos discs have sounded. For me, 24/96 mastering does not cut it, which is true of other labels too, although Pentatone’s recent 24/96 masters generally sound good.

Comment by john hunter - June 2, 2025 (8 of 10)

I have found the typical sound of Chandos SA to be of a high standard.The Wilson recordings especially so .This latest one is no exception.
Plenty of bass with no edge to the strings and a good tight soundstage.
I listen in MC with Sound equalisation by Anthem but wouldn't have thought that the stereo layer would be so different.

Comment by Adrian Quanjer - June 6, 2025 (9 of 10)

We must commend Chandos for continuing to produce SACDs of outstanding musical integrity. As the numerous positive reviews confirm, the chosen resolution of 24/96 is more than adequate for most listeners. Peter Martin’s comment is nonetheless relevant. Those with high-end systems and discerning ears will miss the warmth of native DSD recordings.

Comment by DYB - June 9, 2025 (10 of 10)

What puzzles me is 24/96. Why stop at 96? Why not go to DXD? Is there a reason not to? Does the set-up change if the resolution is bumped to it? They can't be worried about hard drive space...