Russian Music

The piano brothers Lucas (27) and Arthur (24) Jussen will release their seventh album on March 19. The record is called The Russian Album and its first piece, Rachmaninov's Romance from the Suite No. 2 for two pianos.

Sergey Ivanovich Taneyev (1856-1915) is an exceptional figure in 19th-century Russian music. He had nothing in common with the Russian National School. Taneyev's abstract approach to composing was in stark contrast to the outbursts of emotion that we encounter in many of his contemporaries. People tend to call him the Russian Brahms, were it not for Taneyev's disapproval of his music. Taneyev was a composition student of Tchaikovsky and, as a pianist, provided the premieres of Tchaikovsky's works for piano and orchestra. A close friendship developed between the two, which would last until Tchaikovsky's death, despite the sincerity with which Taneyev was one of the few in the Tchaikovsky area to dare to criticize his work.

This record gives us a survey of Russian music of the twenties in all its diversity, its complexity and all its ambivalence, and affords a glimpse of numerous phenomena with a bearing on analogous processes in western culture of the period. Russian music of the first post-revolutionary decade is here represented by the works of three composers of totally different personalities and scope : Sergey Prokofiev, the young iconoclast, the revolutionary who burst upon the traditional musical scene and, as Mayakovsky said, asserted himself "with weight, brutality and ostentation"; Vladimir Shcherbachov, the heir of the academic traditions of the Saint Petersburg school; and Nikolay Roslavets, that marvellous Russian artist who, after a period of unjust oblivion, has today become the centre of constantly growing interest on the part of music lovers and musicologists.

(Booklet Extract)

In Mussorgsky's oeuvre the charecteristic features of Russian music are especially prominent. He was a visionary and revolutionary personality in music.

The Karajan Official Remastered Edition is a series of 13 box sets containing official remasterings of the finest recordings he made for EMI between 1946 and 1984. Karajan captures all the splendour, power and charm of the Russian repertoire in this 7-CD box, recorded almost entirely with the Philharmonia. Tchaikovsky, both symphonies and ballet music, takes pride of place beside Mussorgsky, Borodin, Balakirev, Stravinsky and Prokofiev. The great Bulgarian bass Boris Christoff performs an aria from Boris Godunov and the celebrated comic actor Peter Ustinov narrates Prokofiev’s Peter and the Wolf.

Modernity in Russian music emerged despite its struggles with the Soviet regime in the early 20th century, with the mystical vision of Scriabin’s musical legacy providing a foundation on which to build. In these acclaimed albums we discover Medtner’s life affirming Sonatas, and hear Lourié’s journey from Impressionism to pioneering Cubist conceptions. Mosolov’s works are bold and complex, while Roslavets new tonal system brings ‘fire and ice’, and Stanchinsky’s sophisticated virtuosity anticipates many aspects of 20th-century style. These remarkable works represent a time of profound change in Russian culture that is still being discovered and assessed today.

Modernity in Russian music emerged despite its struggles with the Soviet regime in the early 20th century, with the mystical vision of Scriabin’s musical legacy providing a foundation on which to build. In these acclaimed albums we discover Medtner’s life affirming Sonatas, and hear Lourié’s journey from Impressionism to pioneering Cubist conceptions. Mosolov’s works are bold and complex, while Roslavets new tonal system brings ‘fire and ice’, and Stanchinsky’s sophisticated virtuosity anticipates many aspects of 20th-century style. These remarkable works represent a time of profound change in Russian culture that is still being discovered and assessed today.

Zuill Bailey, the dynamic and exhilarating American cellist, makes his Telarc debut with the release of Russian Masterpieces for Cello. The recording includes Tchaikovsky’s Variations on a Rococo Theme Pezzo Capriccioso and Nocturne in D Minor Op. 19 No. 4, and Shostakovich’s Cello Concerto No. 1 in E-Flat Major, Op. 107. Zuill Bailey’s rare combination of compelling artistry, technical finesse and engaging personality have secured his place as one of the most sought-after cellists today. Bailey performs regularly with long-time duo partner, pianist Awadagin Pratt, as well as with pianist Simone Dinnerstein. He is also a member of the acclaimed Perlman-Schmidt-Bailey Trio, which also includes pianist Navah Perlman and violinist Giora Schmidt.

The Russian viola sonata is a rare bird, not least because the instrument itself was frowned upon by the Soviet authorities; as a result Russian music for the viola has a rather patchy history. It begins in earnest in 1931, when the 1825 Sonata by Mikhail Glinka, ‘the father of Russian music’, was reconstructed from his sketches by Vadim Borisovsky, ‘the father of the Russian viola’. Thereafter, musicians and composers worked together to expand the repertoire. The relationship between the composer Revol Bunin and the violist Rudolf Barshai resulted in a sonata of 1955 which deserves wider currency. Although half a century apart, the Shebalin and Sokolov sonatas have something unusual in common: both were created as part of a triptych, alongside sonatas for violin and cello. All four composers knew how to make the viola sing – though this lyricism is often animated by moments of drama and excitement.