How does an orchestra conductor interpret 'Allegro Moderato'? it means 'moderately quick' between 112 and 124 beats per minute. That sounds fairly straightforward. Or is it?
My favourite symphony is Rachmaninov's 2nd Symphony. Always has been; always will be. I have listened to so many performances of this great opus. Many delight, others leave me perplexed.
The first movement - the Largo - Rachmaninov calls for allegro moderato. Did he have in mind a number of beats per minute? Orchestral conductors over the years of performing and indeed recording this magnificent work seem to have different opinions. For me, moderately quick is the essence of that first movement.
I have many recordings of the 2nd Symphony. I listen to them all regularly. I have always favoured the 1973 recording by André Previn and the London Symphony Orchestra. Previn works his way through that first movement in 19:10. For me that is pretty damn well perfect and what I suspect Rachmaninov planned. A more recent recording in 2006 by Evgeny Svetlanov conducting the USSR State Symphony Orchestra achieves a remarkable 18:11 for that first movement, the last 16 bars taken at tremendous tempo. It is exciting.
I like the 2010 recording by Valerie Gergiev conducting the LSO. He slows the pace of the first movement to 22:33. The slower tempo is rich and nuanced. The recording is warm and slightly understated but for all that a beautiful interpretation. Allegro Moderato? Who can judge what is right?
On the other hand, Gennadi Rozhdestvensky conducted the LSO in 2005 in a recording where he decided to slow the tempo in the first Largo movement to 24:30. Why? it is almost dirge-like and I reckon that Rachmaninov would have winced if he had ever heard this. Allegro Moderato means 'moderately quick' Mr Rozhdestvensky. Why do you drag it out for more than 5 minutes beyond my expectations?
If you have no recording of this most significant opus by Rachmaninov my recommendations are obvious. For me it will always be the Previn, closely followed by the Svetlanov.
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