Svetlanov Ica

Taneyev - Symphony No.4, Apollo's Temple in Delphi - Evgeni Svetlanov (1990)
Melodiya | USSR | SUCD 10-00021 | 1990 | 1 CD | EAC Rip | FLAC (img + cue), LOG | Covers (jpg 300 dpi) | 5 Tracks | TT 46:54 | RAR 197 MB + 3% Recovery
Classical / Sympohonic / Orchestral

Symphony No.4 in С minor, Op.12 written by Taneyev in 1896—1898, was a landmark in the composer's long musical quest. The musical entr'acte «Apollo's Temple in Dephi» from the operatic trilogy «Oresteia» on Aeschylus is a hymn to Apollo, full of light and life force. Through the majestic diatonic structure of his music Taneyev expressed his admiration for ancient art. This entr'acte sound as majestically in Svetlanov's interpretation — it is a hymn to all the beautiful things existing in this world, on this planet.

Glazunov - Symphony No.2, Song of Fate, dramatic overture Op.84 - Evgeni Svetlanov (1990)
Melodiya | USSR | SUCD 10-00023 | 1999 | 1 CD | EAC Rip | FLAC (img + cue), LOG | 5 Tracks | TT 62:13 | Covers (jpg 300 dpi) | RAR 248 MB + 3% Recovery | FSonic/FServe
Classical / Sympohonic / Orchestral

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'".

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.

Glazunov - Two Preludes, To the Memory of N Gogol, Carnival, Fortune-Telling & Dance, Finnish Sketches - Evgeni Svetlanov (1990)
Melodiya | USSR | SUCD 10-00163 | 1990 | 1 CD | EAC Rip | FLAC (img + cue), LOG | 7 Tracks | TT 56:16 | Covers (jpg 300 dpi) | RAR 233 MB + 3% Recovery | FSonic/FServe
Classical / Sympohonic / Orchestral

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).

Glazunov - Symphonies Nos. 4, 5 - Evgeni Svetlanov (1990)
Melodiya | USSR | SUCD 10-00025 | 1990 | 1 CD | EAC Rip | FLAC (img + cue), LOG | 7 Tracks | TT 67:25 | Covers (jpg 300 dpi) | RAR 268 MB + 3% Recovery | FSonic/FServe
Classical / Sympohonic / Orchestral

The termination of Glazunov's quest in lyrical and loftily solemn spheres is embodied in Symphony No.4 (Op.48, 1893). Symphony No.5 (Op.55, 1895) is the acme of Glazunov's symphonism. Balance of forms, harmony of dramaturgy, bright national basis all this is characteristic of a mature style of the composer.

Glazunov - Symphony No.7, Karellian Legend - Evgeni Svetlanov (1990)
Melodiya | USSR | SUCD 10-00027 | 1990 | 1 CD | EAC Rip | FLAC (img + cue), LOG | 5 Tracks | TT 59:43 | Covers (jpg 300 dpi) | RAR 246 MB + 3% Recovery | FSonic/FServe
Classical / Sympohonic / Orchestral

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.

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.

Couplings of the two Balakirev symphonies are not uncommon. Naxos and Hyperion are examples although no doubt there are others. This set, which in terms of musical playing time is amongst the most generous in the BMG-Melodiya series, includes both symphonies and six other works, three tone poems and three overtures. Balakirev's dedication to folk music and the exotic orient is well known. It puts in an appearance to greater or lesser extents in all these works.

Evgeny Svetlanov - Munchner Philharmoniker - Wagner Abend 1988
Die Meistersinger von Nurnberg • Lohengrin • Tannhauser • Tristan und Isolde • Siegfried • Die Walkure
Classical | EAC | FLAC, IMG+CUE, LOG | Covers | 2CD, 412 MB
Label: Weitblick | Catalog Number: SSS0090-2 | TT: 1:34'24''

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