Espagnol

In 1936, the English composer and writer Constant Lambert described Igor Markevitch as ‘the leading figure of the Franco-Russian school’. As a composer he had been commissioned by Diaghilev and performed by the likes of Alfred Cortot and Roger Désormière, but his posthumous reputation largely rests on his prowess as a conductor, a profession he took up in the 1930s after study with Pierre Monteux.

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One major popular composer of Romantic orchestral music whose work, outside of his ubiquitous symphonic suite Scheherazade, is not terribly over-recorded is Russia's Nikolay Rimsky-Korsakov. That, and a tendency toward what for him was an "orientalist" strain in harmonic practice and orchestration, makes Rimsky-Korsakov an ideal choice for the recordings on BIS of a relatively new ensemble, the Malaysian Philharmonic Orchestra, founded in 1997 by conductor Kees Bakels. It is a testament to the skill of Bakels as an orchestra builder that he has raised such a fine musical organization in just eight years. Rimsky-Korsakov: Capriccio Espagnol is intended as a follow-up to the Malaysian Philharmonic Orchestra's recording of Scheherazade, already issued, and as an added bonus, the great Japanese pianist Noriko Ogawa joins the orchestra as guest in Rimsky-Korsakov's all-too-seldom-heard Piano Concerto in C sharp minor, Op. 30. The music, recorded at the Dewan Filharmonik Petronas Hall in Kuala Lumpur, is both very well played and recorded. The Capriccio Espagnol gets off to a great start, with Bakels the orchestra is strongly sympathetic to the piece, though careful ears can pick out some raggedy ensemble in the last section. Ogawa alone is enough to make the Piano Concerto shine, and thankfully Bakels provides comfortable and gracious support to Ogawa's magisterial artistry.

“Setting Rostropovich, an impetuously Slavonic musician if ever there was one, in front of such an unmistakably French orchestra as this produces an intriguing and most attractive blend of Russian fire and colour with Gallic elegance and sentiment,” wrote Gramophone. The relationship between the great cellist-conductor and the Orchestre de Paris achieves glorious expression in this programme of Russian orchestral showpieces.