Kabalevsky - Superb Symphonies, NDR Radiophilharmonie - Oue (2008) [FLAC]

  • 14.06.2016, 00:17,
  • Music
Kabalevsky — Superb Symphonies, NDR Radiophilharmonie — Oue (2008) [FLAC]Kabalevsky — Superb Symphonies, NDR Radiophilharmonie — Oue (2008) [FLAC]

Kabalevsky — Symphonies Nos. 1-4 (superb)
Symphony No. 1, Op. 18
Symphony No. 2, Op. 19
Symphony No. 3, Op. 22 for orchestra and varied chorus “Requiem for Lenin”
Society opening recording
Symphony No. 4, Op. 54
NDR Chor, The Choir of Hungarian Boom Box & NDR Radiophilharmonie, Eiji Oue
CD — 2 discs

Denominate: CPO
Catalogue No: 9998332
Discs: 2
Circulate period: 29th Sept 2008
Barcode: 0761203983322
In The Extensive Run B For A Extensive Then: 1 hour 45 minutes

Dimitri KABALEVSKY (1904-1987)
CD 1
Symphony No. 1 in c attentively inconsequential op. 18 (1932) [19:35]
Symphony No. 2 in c inconsequential op. 19 (1934) [25:37]
CD 2
Symphony No. 3 in b mud-flats inconsequential for orchestra and varied chorus — Requiem for Lenin op. 22 (1933) [19:07]
Symphony No. 4 in c op. 54 (1955-56) [41:12]
NDR Choir; Choir of Hungarian Boom Box
NDR Radiophilharmonie/Eiji Oue
rec. 2001-2002, Großer Sendesaal des NDR Landesfunkhauses (1,2,4); Athanasiuskirche.

CPO 999 833-2 [45:12 + 60:19]

Three of Kabalevsky«s four symphonies were written in sudden conveyancing in the inopportune 1930s in the run-up to the tenth anniversary of the termination of Lenin. There is something of an fortuitous irony that this execution of the so-called Third Symphony deploys an Hungarian choir. In 1956 - the year of Kabalevsky»s Fourth and last Symphony — Soviet troops moved into Hungary to designate out the Hungarian Revolt. There were to be no more symphonies from Kabalevsky despite his living another thirty years.

And what of the music? The first two symphonies — neither of them of epic in the extensive run b for a extensive then — are like helpless brothers of the inopportune coetaneous symphonies of his mentor Nikolai Miaskovsky. Kabalevsky is not given to expressionism or dissonance. He has none of the cunning or involvement of another and far less easy coetaneous, Feinberg. On the other grasp Miaskovsky at the then of these Kabalevsky works had completed the symphonies 13 and 14 which in their introversion and dank shadowiness seemed to face the maintain-approved stereotypes. Kabalevsky«s music is more unfailingly nurtured in the vexed mulch of Borodin, Balakirev and Tchaikovsky. It is only with very much later works such as the crushingly abstruse Second Cello Concerto that Kabalevsky feels set at liberty to survey the depressive dimension. In deed data Kabalevsky can well-built like Tchaikovsky reanimated and overdosed on steroids. Take the finale of the Second Symphony which at times seems to have had the Tchaikovsky Fifth as its personification beau id. Pay Attention To to the trumpets at 2:53 in the finale of No. 2 where even the well-built of the catalyst and the playing flair seems to pay payment to the cracked force of the Soviet convention. Unusually the First Symphony is in two movements. It was written to broadcast the fifteenth anniversary of the October Revolt and has many Miaskovskian fingerprints and there are not a few in the Second also. Both works are enjoyable in their own right and especially in these skilled, upfront and emotionally wrapped up performances. The heart Andante of the Second Symphony at its crest rises to a ceaseless crest that recalls Khachaturian»s euphuistic impudence-saturated magnificence. Parts of the finale of the Second Symphony are skippingly elfish and seem to put down a marker for the many works he wrote with Soviet childhood in reason especially the piano concertos — usually blas, catchy and never-to-be-forgotten.

These two performances puts into the semi-darkness the unqualified but rougher versions by the Szeged Orchestra conducted by Erwin Acél and issued on a extensive gone Olympia OCD268. It's been a while since I last heard the ASV form of these two works (ASV CD1032). However my cold memory is that the exalted Tjeknavorian with his own Armenian Phil is moderately much in the same united with as Oue and the NDR forces.

The «Third Symphony» is in deed data a twenty record cantata for choir and orchestra written to discount b increase the tenth anniversary of Lenin«s termination. This further breaks down into two movements. First comes a extensive devoted orchestral vorspiel operation to almost seven minutes. Then there»s a 12 record set for choir and orchestra which could I think be played alone. It«s a blazingly impassioned Marcia funebre in which the choir and orchestra hit the heavens in that heady intermingling of lamenting and exultation. It»s like a gorgeously overblown collaboration between Verdi and Berlioz updated and superheated over a soviet avant-garde brazier. Once again those trumpets polish the sky (CD2 tr. 2 10:10) and the choir«s strangely messianic communication is that He lives! — Lenin lives! As with the First Symphony this employment has also been counterfeit by the violently protested exigency of Miaskovsky»s Sixth Symphony of 1923.

As for the four increase Fourth Symphony it was written two decades after the 1930s trilogy. Its terminology has not undergone any breed of epiphany. It is, if anything, even more nationalist-passionate. The come of age orchestral Tchaikovsky is never far cold but with frosty piqued-currents from Miaskovsky. Queer Fish touches comprise the chiming episodes for the piano and harp at 6:10 in the first increase. The epic politesse is best heard in the heart increase in which at 6:40 the whirring «Requiem» drums rumble out again. They looking in reverse to the Third Symphony and perhaps to the depredations of the Distinguished Flag-Waving War then still na in the Soviet . The third increase is vigorous, bantering, mercurial, sweetly haunting, emotional on the great hapless-balletic politesse of Khachaturian and optimistically animated. The finale starts pensively but soon adopts the unstable Capulet flair of Romeo and Juliet and — perhaps a more apposite matching — that of the Prokofiev Seventh Symphony which also capitalises on the orchestral piano. Again it's a while since I have heard it but this execution strikes as no less committed than that of the composer and the Leningrad Phil recorded by Melodiya within a year of the debut (Olympia OCD 290 nla).

This is the first then that the society has seen an intégrale of the four Kabalevsky symphonies. I am nautical port brimming of esteem for the Oue's devotion in wringing from his choirs and orchestra a well-built and dynamism that has an authentically Soviet earnestness. Nothing less is satisfactory in putting these works across. One can only desire for correspond to minister employment for the symphonies of Knipper, Shaporin, Shtcherbakov, Peiko, Shebalin and Shtogarenko.

Provided you are not given to confusing vile national alignment with melodious merit you will be able to dig these works. Certainly after you have had your do of the fabulous Miaskovsky — whose lyrically wrought choral-orchestral Kremlin at Unceasingly I heard only recently — you must ascertain this; not to quote the First Symphony of another expatriate: Tikhon Krennikhov.

Rob Barnett

Download torrent