Russian

Grechaninov’s long life (1864-1956) covered much, from birth in Moscow and training with Rimsky-Korsakov to exile when he was already old, and death in New York. His quiet Russian lyricism never left him, and his idiom did not range as wide as his experience. The Missa festiva is one of several attempts at reconciling Eastern and Western traditions, and to this Orthodox composer’s surprise it won a prize in 1937 for a setting of the Catholic liturgy. As in his subsequent Missa oecumenica, he tries to bring together different styles, making use of Gregorian-influenced melodies but avoiding the use of polyphony in favour of a more chordal, Russian manner; however, there is an important part for the organ. The most successful movements are the closing “Benedictus” and Agnus Dei, where his essential gentleness finds touching expression.

Since the early 1990s, the excellent French label Opus 111 has released a number of recordings by the Russian Patriarchate Choir, which was founded in 1980 by Anatoly Grindenko. Grindenko, a successful performer on the double-bass and viola de gamba, has combined a devotion to the living tradition of the Orthodox liturgy with important and original musicological scholarship. The result has been the careful editing and inspired performance of a number of manuscripts representing early, and sometimes all but lost, traditions of Orthodox chant.

This recording features the works of Russian composers who were outstanding personalities in the musical life of their country during their lifetime: The Violin Concerto in D major, op. 35, by Tchaikovsky and the Violin Concerto in A minor, op. 82, by Glazunov.

Balakirev worked on the second of his twosymphonies between 1900 and 1908 and it was first performed at a Free Schoolconcert in April 1909 under the direction of Liapunov. Work on his firstsymphony had been resumed thirty years after the first sketches, with no traceof a change of style. Similarly the second symphony, which makes use of theScherzo planned in the 1860s for the earlier work, is in a style that hadpassed. This, after all, was the age of Stravinsky's Firebird. It is,nevertheless, a compelling enough work, testimony to Balakirev's craftsmanshipand to the Russian source of his his inspiration.

This is the 21st album by this orchestra on Pentatone, most of which have received the highest critical acclaim. In particular, the recordings of Russian repertoire conducted by Russian conductors are artistically and commercially successful.

Polyansky continues to record some great off the beaten track repertoire for Chandos with this latest version of Arensky's First Symphony. The disc also includes a number of rarities that are making it onto disc as first recordings.
I don't recall that Svetlanov's thrilling Melodiya version of this work was ever issued on CD so I believe this has the field to itself, at least for the moment. Polyansky directs with a firm hand and his knowledge of the score is palpably evident in the beautiful First movement with its quirky 'Allegro patetico' tempo.

Polyansky and the Russian State Symphony have done Taneyev a superb service with these thoroughly prepared, expertly recorded performances. The music itself may be too firmly tied to academic apron-strings to be viable in the concert hall, and the composer’s verdict in not releasing them was surely the right one. But these are still need-to-know pieces for anyone interested in the Russian symphonic repertoire.

Musical treasures from great Russian composers, ideally interpreted by the Russian conductor Samuel Friedmann with philharmonic orchestras of his mother country that represent the great music tradition of Russia.