Mikhail IPPOLITOV-IVANOV (1859-1935)
Caucasian sketches, Suite 1 Op10 (1894) [18:50]
Rhapsodie Armenienne Op.48 (1895) [5:53]
Prelude to the opera “Ruth” Op.34(?) (1883-86) [3:50]
Marche Turque Op.55 (1926) [4:08]
Caucasian sketches, Suite 2 “Iveria” Op.42 (1896) [21:15]
Maria Ivanova (piano)
Alexander Zagarinskiy (piano)
rec. 2019, Jesus-Christus-Kirche Berlin-Dahlem
Notes in German and English
HÄNSSLER CLASSIC HC19039 (54:21)
I confess that, while the name Ippolitov-Ivanov was known to me, I knew nothing about him other than he wrote some orchestral pieces called Caucasian Sketches. I had no experience of his music either recorded or live so these four-hand arrangements of a handful of his orchestral works are living up to their original purpose; giving voice to works you would otherwise not have chance to hear. Of course, I can now hear the originals at the click of a button but it is a nice thought nonetheless.
After studying composition under Rimsky-Korsakov, Ippolitov-Ivanov held teaching posts at Tbilisi and at the Moscow Conservatory, acting as its director between 1905 and 1912. His style has similarities to his famous teacher's and all of the works on this disc are in a very approachable late romantic style; the world of Scheherazade is not far away from the first suite of Caucasian Sketches though these are more compact. The first is a depiction of a post-coach travelling through the Terek ravines. The song of a girl as she sits on a flat rooftop opens the second piece, In a village. A traditional folk-tune dances through the central section. The composer based his image of the Mosque, the third of the set, on a Muezzin's melody sung near the Black Sea and the set closes with the grand Procession of the Sardar (Persian nobility), based on a tune composed by Armenian composer Tigran Chukhajian (1837-1898); like much of this music, this is full of local colour.
The Second suite is a close companion, named for the Iveria region of Eastern Georgia. It begins with the sombre Lamentation of Princess Ketevana, banished to Kaluga; it is a haunting work full of deep yearning. The Berceuse that follows will sound familiar; Tchaikovsky used the theme for the Arabian Dance in his ballet The Nutcracker. The restrained atmosphere continues into the opening of the Lezghinka that follows but things soon heat up and the fast music that follows winds up to a wild, swirling, reckless dance. The suite ends with a Georgian March, bright and sunny but with tiny hints of melancholy in some of its harmonies. It brings the suite to a spirited conclusion.
The other works on this disc are short works written in a similar folk-inspired vein. The Rhapsodie Armenienne opens with long cadenza passages for the violin (echoes again of the solo violin playing the part of the storyteller in Scheherzade). A melody with a simple accompaniment follows, the tempo increases for a short dance section then the gentle melody and violin cadenzas bring the work to a close.
The opera Ruth was the first of Ippolitov-Ivanov's six surviving operas, written when the composer was in his mid-twenties, making a name for himself in Tbilisi as an opera conductor, and around the time he married the singer Varvara Zarudnaya. The opera's themes of love, betrayal and suicide are only hinted at in this short extract. The mood is tender, the themes broad and romantic; only the opening accented chords give a suggestion of what is to come.
The Turkish March is a gaudily bright and unabashed showpiece. There is more authentic colour than in other Turkish pieces that could be mentioned from earlier composers (Mozart and Beethoven spring to mind) and it is a joy to listen to and, gauging from this performance, a joy to play as well.
The author of these 4-hand arrangements is not mentioned though the performers’ biography states that “the concerts nowadays given by the duo are centred on original transcriptions of symphonic works by Russian composers” so I am assuming that they are from the composer's pen. Whatever the case they are very effective, capturing lots of orchestral detail. Ivanova and Zagarinsky play them with great gusto and panache; they really bring these works to life and are clearly enjoying themselves. The music is very engaging and Ippolitov-Ivanov certainly takes after his teacher; all the music on this disc should raise a smile.
Rob Challinor
Previous review: Michael Cookson
