Shchedrin

Arthur Fiedler's recording of Shchedrin's Carmen Ballet is excellent in every way. The composer's imaginative rescoring of several sections of Bizet's opera for strings and percussion is a superb reorchestration exploiting a full range of percussion timbre that reveals an incredible array of views of the score that continually delight the listener. The Ballet, composed as a vehicle for his celebrated wife- prima ballerina of the Bolshoi Ballet, Maya Plisetskaya - is an extraordinary orchestration which invites the listener to explore new and very different colors with music originally scored for Bizet's classically constituted orchestra of the opera pit. While the disk also includes the Incidental Music to "Hamlet" by Shostakovich and Glazunov's Carnival Overture, it's the Shchedrin performance that makes the disk worth any price for the listener who values discovering new things in music well known in an earlier guise.

Shchedrin's Carmen Ballet, a hit in the 1960s, still amuses, delights, entertains, and, for some, enrages. It's full of Bizet's great melodies, but instead of a fancy-dress version of great hits from Carmen, Shchedrin's reorchestration features extravagant percussion effects and fascinating original variations. So it's a truly original work in the long line of parody pieces central to 20th century music, including the reworking of Baroque music by Stravinsky, Respighi, and others. Pletnev and his fine orchestra play the daylights out of it, and the engineers make the most of its "hi-fi spectacular" potential. The Concertos for Orchestra are welcome fillers. The first, subtitled "Naughty Limericks," sounds like music to accompany a riotous cartoon. The second, "Chimes," is made of sterner stuff, with some dazzling trumpet and percussion passages in its middle section and an extended finale for bells and a dark-textured orchestra. This is one of those discs you can't go wrong with.

In August 2022, the musicians of the Rachmaninoff International Orchestra gathered in Bratislava to perform their first recording under the direction of founder and artistic director Mikhail Pletnev. There is an acclaimed arrangement of Swan Lake by Mikhail Pletnev, coupled with Rodion Shchedrin's famous arrangement of the Carmen Suite from Bizet's masterpiece.

The Mariinsky Orchestra recordings with Denis Matsuev, "the Siberian bear with the fastest paws in the Arctic," have all offered classic Russian virtuosity at its best. This one, containing three distinctly high-spirited works, makes a great place to start with the series, and it's hard to imagine the listener who wouldn't succumb to its charms.

The two piano concertos of Shostakovich, though strikingly different from each other, have both become twentieth century classics. The first has long been one of Marc-André Hamelin's 'party pieces.' Hyperion was pleased to have the opportunity to pair him with Andrew Litton, a conductor who knows these works backwards and forwards (he has even recorded the second concerto as pianist). The resulting performances have a vitality and flair which places them amongst the greatest ever put to disc. The Shchedrin concerto, though less well-known, is no less enjoyable. There is brilliance in both the piano writing and the orchestration and the surprise addition of a jazz trio in the finale - including vibraphone and drum kit - is sure to bring the house down.