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Page Artiste Valery Polyansky

Détails sur le produit

  • Interprète: Valeri Polyanski
  • Compositeur: Alexandre Gretchaninov
  • CD (1 septembre 1995)
  • Nombre de disques: 1
  • Label: Chandos Records
  • ASIN : B000000AXN
  • Autres versions : Téléchargement MP3
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Amazon.com: HASH(0x93adadec) étoiles sur 5 2 commentaires
13 internautes sur 13 ont trouvé ce commentaire utile 
HASH(0x93ada438) étoiles sur 5 Here's yet another Russian composer that (most of) you don't know about 21 octobre 2009
Par Eric S. Kim - Publié sur Amazon.com
Format: CD Achat vérifié
It's a good thing that I stumbled across Grechaninov through Chandos, because I think I would have never had the chance to hear some wonderful compositions from a generally unknown Russian composer. The music of Alexander Tikhonovich Grechaninov (born 1864, died 1956) is similar to that of Rimsky-Korsakov and Borodin in terms of color and orchestration, with a pure Russian nationalist style. Although he was best known for his choral church music, he created symphonies and operas as well. The three works featured on this CD may very well be the perfect introduction to Grechaninov. Symphony No. 1 has that Borodin feel: it's a lyrical work that can be quite meditative at times. Snowflakes (Songs from the World of Childhood) is a 15-minute choral piece consisting of ten poems that reflect our imagination when we were children. Animals, elves, and snow play a major part in the text. Missa Sancti Spiritus (for Organ and Choir) may sound like it came from the Romantic period when, in fact, it was created in 1943. It's a very tonal work, with many Romantic elements added in. All three compositions are fine examples of Grechaninov's musical intelligence. While he may not be have been creative as Rimsky-Korsakov or Tchaikovsky, he was still able to create some dazzling classical music. This should be an essential disc to own for those who can't get enough of Russian classical music, or just classical music in general.
1 internautes sur 1 ont trouvé ce commentaire utile 
HASH(0x93968e94) étoiles sur 5 Mostly for the completist, I think 20 novembre 2015
Par G.D. - Publié sur Amazon.com
Format: CD Achat vérifié
Alexander Grechaninov was a major composer of the Russian silver age, and his best works qualify as “great”, including some of his choral and chamber works. We certainly needed a complete cycle of his symphonies (I have a particular fondness for the exuberant fifth), and the Chandos one is certainly worth the investment for any fan of the Russian silver age. It is, however, hard to imagine a strong case being made for the first symphony apart from “for completeness sake”. Completed in 1895, it is a work heavily indebted to Rimsky-Korsakov and sounds a lot like Glazunov’s works from the same period. But it lacks the inventiveness, brilliance and melodic memorability of either of those composers, and although there are some pleasant things going on and the symphony never really gets “boring”, there is nothing to remember it by once the moderately interesting scenery has passed you by. No complaints about the craftsmanship, but the scoring is hardly as brilliant as Rimsky or Glazunov either. The Russian State Symphony Orchestra plays well under Valeri Polyansky, but although it is not slow there is a certain lack of energy to the proceedings that I think is only partially the composer’s fault.

Snowflakes (1910) is a collection of ten miniature poems about childhood. I admit that I expected some fantastic, phantasmagorical and wonderfully atmospheric fairy tale music in the manner of the Nutcracker or Liadov, and that seems to be what Grechaninov was aiming for as well – but no, it doesn’t really work; after the opening number the music often turns banal and trite and the melodic material isn’t really memorable enough. Here, however, the performances are not free from blame. I know the opening song, Snowflakes (yes, it gave the title to the cycle) as a wonderfully crisp, mischievous and atmospheric solo song, but the choral-and-orchestral arrangement packs it all in a wet, woollen, grey cloth – at least it does in the poorly balanced and woolly recorded sound here, and I suspect my disappointment in the rest of the cycle can at least to some extent be blamed on the same problem. But the singing is not great either, which is surprising from this source.

And in the late Missa Sancti Spiritus (1940) the Russian State Symphonic Cappella certainly prove that they usually are excellent singers; it is very well performed. The mass dispenses with orchestra, and the result is a very devotional, rather low-key but emotionally charged setting. It is not great music – not a patch on the best of Grechaninov’s other choral works – but it is well written and beautiful enough. In sum I think this disc is mainly for completists; there are some good and enjoyable things here, but some serious drawbacks as well. Let me close, however, with a plea for an opportunity to hear one or more of Grechaninov’s operas. At least Dobrynya Nikitich was recorded on LP by Melodiya, but has not been officially reissued on cd, and there are at least two more (plus two “children’s operas”).
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