An appealing collection of short Russian orchestral works in recordings dating from 1965 to 1990. The performances are idiomatic, with plangent brass and bassoons, while Svetlanov unfolds the structure of each piece with a sure and certain hand. Many rewarding discoveries among the rarer pieces, including Glazunov’s surprisingly powerful Lyrical Poem, two miniatures by the Czech-born Eduard Nápravník, an influential figure in St Petersburg’s musical life for more than fifty years, and Balakirev’s suite of Chopin arrangements.
Svetlanov, Munchner Philharmoniker under the domination of Celibidache and Wagner. How miraculos this combination was! It might be never have been planned from a fixed idea, with the intension and procedure to realize this performance might be not so serious an event. However, as a result, an outstanding performance, containing good balance between the orthodoxy at the maximum level and the open minded power was accomplished. It may be called excellent Wagner with collective powerful sounds without hesitation bu one of the mist symbolic German orchestras. It can be realized paradoxically only by this couple. This Wagner seems to be what we can see from the vivid viewpoint of the orchestra members who greatly enjoyed their own music without any stresses different from the usual performances
Nikolay Yakovlevich Myaskovsky (1881-1950), the Musical Conscience of Moscow, has been deemed by many as the greatest of Soviet symphonists. And listening to his symphonies, it is not hard to see why. Hardly free from the problems with some of the turgidness, redundancy, and plainness in the writing, his music is real stuff, hardly facile, and honest in its communicative utterance. He was indeed a Twentieth Century Piotr Illyich Tchaikovsky, not as an epigone, but as a man not afraid to express himself and at the same time allow his music to remain accessible.
Tikhon Nikolayevich Khrennikov (1913–2007) was a Russian and Soviet composer, pianist, and leader of the Union of Soviet Composers, who was also known for his political activities. He wrote three symphonies, four piano concertos, two violin concertos, two cello concertos, operas, operettas, ballets, chamber music, incidental music and film music.
Mily Balakirev was the brilliant, dynamic leader of the group of St Petersburg composers known as ‘The Mighty Handful’ or ‘The Five’, which included, besides himself, Mussorgsky, Borodin, Rimsky-Korsakov and Cui. As well as stimulating these other men, who might never have taken up composition but for him, he was a very fine composer in his own right. Completely lacking in conventional musical training, he had educated himself by studying the works of the Western masters and of his great Russian predecessor, Mikhail Glinka, and he was thus without the preconceived ideas inculcated in conservatoires of music in his day.
All the symphonic works by A. Glazunow (and many of them for the first time) have reached the audience due to the unique series of recordings "Anthology of Russian Symphony Music" made bv the USSR Symphony Orchestra under Evgeni Svetlanov. Each interpretation of the conductor is the result of the profound understanding of Ihe author's concept, inspired by a powerful creative individuality and high performing mastery of the conductor.
The programme presents Glazunov's works created during the two decades. The earliest among them is the orchestral overture "Carnival" (1893).
The work which conductor Evgeni Svetlanov has been carrying on together with the USSR Symphony Orchestra has no analogy in the recording business. They have recorded "Anthology of Russian Symphony Music", and all symphonies by A. Glazunov concluded this unique work.
"Karelian Legend" (Op.99,1916) is one of the last works by A. Glazunov. Karelian folk fairy-tales inspired the composer to write it. Music of the Legend is remarkable for its splendour and ornament. Here Glazunov used various orchestral effects being in perfect command of them.
Symphony No.2 (Op.16, 1886) was composed by A. Glazunov under the influence of symphonic works by A. Borodin. E. Svetlanov characterizes the symphony in the following way: „…heroic scope, undoubtedly coming from Borodin, will be later revealed in a remarkable poem "Stenka Razin". One is tempted to call Symphony No. 2 "Volzhskaya'".