Aureole etc.




Nimbus on-line




If it’s the Czech works you’re after, do not hesitate

  Founder: Len Mullenger
Classical Editor: Rob Barnett


Some items
to consider

 


Enjoy the Gothenburg Symphony Orchestra wherever you are. App available for iOS and Android


Tudor 7188


Vaughan Williams Symphony 3 etc.


Lyrita New Recording


Lyrita Premiere Recordings

Lyrita 4CDs £16 incl.postage

Lyrita 4CDs £16 incl.postage


Decca Phase 4 - 40CDs


Judith Bailey, George Lloyd


BAX Orchestral pieces


CASKEN Violin Concerto

Schumann Symphonies Rattle


Complete Brahms
Bargain price

 

 

 

 


 REVIEW


Gerard Hoffnung CDs

Advertising on
Musicweb


Donate and get a free CD

New Releases

Naxos Classical

Hyperion

Musicweb sells the following labels
Acte Préalable
Alto
Arcodiva
Atoll
CDAccord
Cameo Classics
Centaur
Hallé
Hortus
Lyrita
Nimbus
Northern Flowers
Redcliffe
Sheva
Talent
Toccata Classics


Follow us on Twitter

Subscribe to our free weekly review listing
sample
 

alternatively
CD: AmazonUK AmazonUS
Download: Classicsonline


Sergei Ivanovich TANEYEV (1856-1915)
Overture to Oresteia Op. 6 (1889) [20:48]
Oresteia, Act III: Entr’acte: The Temple of Apollo at Delphi (1894) [5:10]
Adagio in C-major (1875) [5:54]
Overture on a Russian Theme (1882) [17:26]
Cantata on Pushkin’s “Exegi Monumentum” (1880) [4:26]
Canzona for Clarinet and Orchestra (1883) [6:21]
Overture in D minor (1875) [14:48]
Stanislav Jankovsky (clarinet)
Novosibirsk Chamber Choir/Igor Judin
Novosibirsk Academic Symphony Orchestra/Thomas Sanderling
rec. Studio of West-Siberian Radio, 1-15 September 2007. DDD
Liner-notes by Anastasia Belina
NAXOS 8.570584 [74:53]
Experience Classicsonline

This is the second volume of Thomas Sanderling’s promised complete set of the orchestral music of Taneyev. It includes three mature works that are well-known. We also get to hear four earlier works that the composer never allowed to be published, and which, like a number of others, were only released to the world in the 1950s. This is a shame because all four demonstrate that Taneyev was already a notable composer very early in his career.

Two of the works date from the composer’s student years. The overture in D-minor was his graduation piece and won an award. It is rather somber, with a Tchaikovskian lyricism combined with an underlying sense of unease. The central section features the woodwinds and is beautifully developed. At this point (19 years old) he still has trouble getting everything he wants from his basic material, but that would come later. However the devopment of this material into a cheerful finale is quite skillful. Also from 1875 is the Adagio in C-major. This is a lyrical work of great songfulness, with intimations of future vocal pieces. Tchaikovsky and Mozart hang over it to a degree, but its sheer beauty is the composer’s own. Why he would not want to publish it is a mystery.

Five years later Taneyev’s status as a mature composer was already assured enough for him to be asked to write the Cantata on Pushkin’s “Exegi Monumemtum”. This is a setting of the first two verses of the poem of that name and was written for the unveiling of the Pushkin Monument in Moscow. It is quite simple, but evocative of the poet’s themes of the impermanence of political life when contrasted with the permanence of art. It has some beautiful polyphony and orchestration. Two years later Taneyev wrote a much large work that is one of his very few with a folk basis. The Overture on a Russian Theme takes the composer’s usual compositional method of developing segments of one theme and applies it to a theme from a folk collection compiled by Rimsky-Korsakov. The entire theme itself is hardly heard at all, but parts of it constantly succeed each other in a variety of different moods, ranging from the dramatic to the lyrical. The woodwinds are skillfully used throughout - a frequent feature of the composer’s works. While the slower middle section gets a little too involved, it is succeeded by an excellent sequential passage on strings that leads to the finale - a glorification of the original theme. This work compares well with similar pieces by the composer’s contemporaries and should be better known.

The Canzona and the Oresteia works were published by Taneyev and have been popular in Russia ever since. The Canzona is one of the composer’s few concerted works and is both virtuosic and tender with a middle section reminiscent of the clarinet works of Weber. The wistful end could only be Taneyev. There is a competing recording of the piece on Naxos with Vytautas Sondeckis, but I found Jankovsky’s version preferable for its liveliness. Taneyev arranged the piece for cello and piano and it has been recorded in this form several times, including by Rostropovich (see review).

Soon after beginning The Oresteia, his only opera, the composer started turning the material into a symphonic poem, which he published as a separate work, and then went on to compose the full opera, premiered five years or so after the symphonic poem. The poem is based on five themes representing various aspects of the Aeschylus play and the exposition of the themes is extremely dramatic. The composer later occasionally gets carried away by the violence of the music for the Furies, but those sections representing the feelings of Orestes are always well done. This leads to the highlight of the piece - the judgment that Orestes is innocent of matricide by Athena and the Areopagus and the final apotheosis of Athenian justice. The major competition for Sanderling in this piece is provided by Vladimir Ashkenazy and Neeme Järvi. I found Sanderling more gripping than Ashkenazy (see review) and with a better sense of the overall work. With Järvi there is slightly more excitement and a slightly better recording, but Sanderling has the cost advantage.

The Act 3 Entr’acte from the opera proper concerns Orestes’ journey to Apollo’s temple at Delphi to find out how to rid himself of the Furies. The main musical element here is Apollo’s shimmering theme as he banishes the Furies from his temple and sends Orestes to Athens for his eventual pardon. This section shows a tighter development than the appearance of the same material in the symphonic poem. It was also recorded by Ashkenazy and more excitingly by Svetlanov (see review).

In comparing this disc with the first volume of the series, Symphonies 1 and 3, recorded a year before this one, several developments are obvious (see review). The first is that Thomas Sanderling has a much better control over the orchestra and that the ragged playing that afflicted sections of the earlier disk is gone. His ability to alternate between dramatic and lyrical is really first rate. The second is that the orchestra seems to have accommodated itself to the music to a greater degree. The brass and percussion are exemplary in the Oresteia poem and the woodwinds are a highlight in almost every piece. Finally, the engineers seem to have mastered the Studio of West-Siberian Radio and acoustics are no longer a problem. All of this makes for a superior disc. There are also exemplary notes by Anastasia Belina. One can have no hesitation in recommending this disc not only to Taneyev lovers, but as an example of the range of creativity of a composer still far from receiving his due in the general history of music.

William Kreindler

see also review by Dan Morgan 


 


EXPLORE MUSICWEB INTERNATIONAL

Making a Donation to MusicWeb

Writing CD reviews for MWI

About MWI
Who we are, where we have come from and how we do it.

Site Map

How to find a review

How to find articles on MusicWeb
Listed in date order

Review Indexes
   By Label
      Select a label and all reviews are listed in Catalogue order
   By Masterwork
            Links from composer names (eg Sibelius) are to resource pages with links to the review indexes for the individual works as well as other resources.

Themed Review pages

Jazz reviews

 

Discographies
   Composer
      Composer surveys
   National
      Unique to MusicWeb -
a comprehensive listing of all LP and CD recordings of given works
.
Prepared by Michael Herman

The Collector’s Guide to Gramophone Company Record Labels 1898 - 1925
Howard Friedman

Book Reviews

Complete Books
We have a number of out of print complete books on-line

Interviews
With Composers, Conductors, Singers, Instumentalists and others
Includes those on the Seen and Heard site

Nostalgia

Nostalgia CD reviews

Records Of The Year
Each reviewer is given the opportunity to select the best of the releases

Monthly Best Buys
Recordings of the Month and Bargains of the Month

Comment
Arthur Butterworth Writes

An occasional column

Phil Scowcroft's Garlands
British Light Music articles

Classical blogs
A listing of Classical Music Blogs external to MusicWeb International

Reviewers Logs
What they have been listening to for pleasure

Announcements

 

Community
Bulletin Board

Give your opinions or seek answers

Reviewers
Pat and present

Helpers invited!

Resources
How Did I Miss That?

Currently suspended but there are a lot there with sound clips


Composer Resources

British Composers

British Light Music Composers

Other composers

Film Music (Archive)
Film Music on the Web (Closed in December 2006)

Programme Notes
For concert organizers

External sites
British Music Society
The BBC Proms
Orchestra Sites
Recording Companies & Retailers
Online Music
Agents & Marketing
Publishers
Other links
Newsgroups
Web News sites etc

PotPourri
A pot-pourri of articles

MW Listening Room
MW Office

Advice to Windows Vista users  
Questionnaire    
Site History  
What they say about us
What we say about us!
Where to get help on the Internet
CD orders By Special Request
Graphics archive
Currency Converter
Dictionary
Magazines
Newsfeed  
Web Ring
Translation Service

Rules for potential reviewers :-)
Do Not Go Here!
April Fools




Return to Review Index

Untitled Document


Reviews from previous months
Join the mailing list and receive a hyperlinked weekly update on the discs reviewed. details
We welcome feedback on our reviews. Please use the Bulletin Board
Please paste in the first line of your comments the URL of the review to which you refer.