The long timings listed on the back of this release’s jewel case correctly indicate the generally broad tempos and rhetorical headroom that characterize this Rachmaninov cycle. Despite James Loughran’s admirable clarification of the composer’s frequent first-desk orchestral solos and Oleg Marshev’s sensitive, singing tone in the lyrical central movements, there’s not much to enjoy. Little cumulative energy propels the Third Concerto Finale’s variations (save for the coda), while the soft-edged first movement falls apart under the weight of Marshev’s cautious, draggy cadenza (he plays the once rare, now fashionable “difficult” chordal alternative). The Second Concerto’s first movement moves at a turgid, static amble (shades of Weissenberg/Karajan), with none of the inner vibrancy you get from Richter’s similarly slow DG recording. Its finale, and those of the First and Fourth as well, lack the incisive textures and rhythmic verve with which Kocsis/De Waart and Wild/Horenstein inform this music.
If you prefer your Paganini Rhapsody more easygoing than demonic, the Cliburn/Ormandy/Philadelphia version offers superior orchestral execution compared to Marshev and Loughran’s similar yet relatively lusterless conception. The rapid-fire piano/orchestra interplay crosses no swords, ignites no sparks, and ultimately ceases to hold your attention. For genuine edge-of-seat scintillation and diabolic musicianship, turn to Wild/Horenstein, Graffman/Bernstein, and of course, the sonically dated but classic Kapell/Reiner. In a market swamped with first-rate Rachmaninov concerto cycles and individual recordings, Marshev and Loughran face serious uphill competition.
