Aureole etc.




Golden Age singers

Nimbus on-line




Faure songs
Charlotte de Rothschild (soprano);

  Founder: Len Mullenger
Classical Editor: Rob Barnett


Dmitri KABALEVSKY (1904-1987)
Cello Concerto No. 1 in G minor Op. 49 (1949) [18.49]
Cello Concerto No. 2 in C minor Op. 77 (1964) [30.59]
Improvisato for violin and piano Op. 21 No. 1 (1934) [4.16]
Rondo for violin and piano Op. 69 (1961) [6.57]
Marina Tarasova (cello)
Symphony Orchestra of Russia/Veronika Dudarova
Natalia Likhopoi (violin)
Ludmilla Kuritskaya (piano)
rec. July 1993, Moscow Radio Studio 5
REGIS RRC 1116 [61.31]


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
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



BUY NOW 

Crotchet   AmazonUK   AmazonUS

Kabalevsky's presence in the West rested on his uproarious overture to the opera Colas Breugnon. Olympia have done the most to broaden our knowledge of his music and it is that company who have licensed this issue to the ever-astute Regis label.

Kabalevsky is not one for challenging music although by the time of the 1960s his sinews stiffened and an emotional complexity undreamt of in the 1930s and 1940s began to assert itself. More often than not though he makes use of his facility for writing flowing and life-enhancing music. There is little sardonic pepper or macabre salt in the writing of the First Concerto. Two fluent songful movements frame a moving threnody for the Soviet millions fallen during the Second World War. There is a hint of the same nostalgia and of the rhythmic steel that grips in the music of Kabalevsky's teacher, Miaskovsky who died the year after this was written.

The Second Concerto was written for and premiered by Daniel Shafran who had already recorded the First Concerto with the composer. The three movements played attacca follow the typical Miaskovsky layout: slow-fast-slow. The middle movement is relentless and although it provides contrast for the complex and mournful legato nature of its companions it seems rather like a nod in the ‘right’ direction. If the facile criticism of ‘Prokofiev and water’ means anything for the First Concerto you might substitute Shostakovich's name in the case of the Second Concerto. The work develops an emotional head of steam in the long final section ending with subtly flavoured understatement.

The two fillers: Improvisato blends Shostakovich and Fauré while the Rondo motors along with all the torque and mercury of a Leningrad Khachaturian.

These are successful performances impressive for Tarasova's sense of flow and colour as well as for the mercurial fantasy and power of Likhopoi.

Rob Barnett



Gerard Hoffnung CDs

Advertising on
Musicweb


Donate and get a free CD

New Releases

Naxos Classical

Hyperion

 

Musicweb sells the following labels
Acte Préalable Arcodiva
British Music Soc.
CDAccord
Hallé
Hortus
Lyrita
Nimbus
Northern Flowers
Redcliffe
Sheva
Talent
Toccata Classics


Follow us on Twitter


Subscribe to our free weekly newsletter

Return to 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.