SHOSTAKOVICH: The Execution of Stepan Razin, Op.
119. October, Op. 131. Five Fragments, Op. 42.
Charles Robert Austin, bass-baritone; Seattle Symphony Chorale; Seattle Symphony
Orch/Gerard Schwarz, cond.
NAXOS 8557812 (B) TT: 52:22
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KABALEVSKY: Piano Concerto No. 1, Op. 9. Piano Concerto No. 2, Op. 23.
In-Ju Bang, pianist; Russian Philharmonic Orch/Dmitry Yablonsky, cond.
NAXOS 8557683 (B) TT: 56:01 BUY NOW FROM ARKIVMUSIC
FOERSTER: Festive Overture, Op. 70. My Youth,
Op. 44 (symphonic poem). Symphony No. 4 "Easter Eve."
Slovak Radio Symphony Och/Lance Friedel, cond.
NAXOS 8557776 (B) TT: 72:33 BUY NOW FROM ARKIVMUSIC
From east of the Alps, Naxos has two clear winners out of three new
releases — music by Shostakovich and Josef Bohuslav Foerster (1859-1951) – not
that the third (piano concertos by Dmitry Kabalevsky) is negligble, but
musically those are either conventional or imitative despite the composer’s
proficiency. The prize is Gerard Schwarz’s enkindling leadership
of The Execution of Stepan Razin, a cantata composed in 1964
to the grisly poem about a 17th-century revolutionary by Yevgeni Yevtuschenko,
whose scandalous “Babij Yar” Shostakovich had dared to set
to music as his 13th Symphony two years earlier. (Because the poet blamed
Soviet troops rather than the Nazis for the mass execution of Polish
Jews at Babij Yar, a shocked party hierarchy insisted the text be modified
after the first performance in 1962, and banned further performances
within the USSR for three years after, by which time, however, it had
become a cause célébre throughout the western
world.) Whereas much of “Babij Yar” was wryly muted, Stepan
Razin is
as bloodthirsty a score – and a masterwork – as anything
Shostakovich had written since the massacre music in his Eleventh (The
Year of 1905) Symphony. It was as if he dared the apparatchiks who
censored “Babij Yar” to attack again. Scored for chorus,
orchestra and bass-baritone soloist (Charles Robert Austin may not be
Russian but sings heroically), Schwarz’s Seattle forces rise to
the occasion with a passion surpassing their other Shostakovich performances
for not-quite-defunct Delos or more recently Naxos. The irony is that Stepan
Razin was performed and superbly recorded 10 years ago, during June
1996, in the Opera House that sonically compromised concerts but was
an outstanding recording chamber when Adam Stern was the producer; the
sound yields nothing to the Mark Taper Auditorium in Benaroya Hall where October was
recorded in 2000 (again with Stern producing). This late work commemorating
the golden jubilee of the 1917 Revolution, is hardly less grim than Stenka
Razin, apart from a celebratory coda that Shostakovich, because
he was a great composer, managed to muster for the occasion without debilitating
what had gone before. The Five Fragments, a Taper/Benaroya production
from 2005, was test material for the Fourth Symphony (finished in 1935-36
but not performed for a quarter of a century) — piquant music of
substance and fantasy in spite of its brevity (1:21; 1:02; 3:48; 2:51,
and 1:33). But Stalin meanwhile had heard and hated Lady Macbeth
from the District of Mszensk, and a historic damnation of it and
its composer on the front page of Pravda made Shostakovich fearful
for his life. Both Rostropovich and Mark Elder have recorded the Fragments,
although hardly better than Schwarz and his players, but there is not
currently an alternative version of October, not that there
needs to be. This one is gritty in the best sense – a genuine centennial
tribute to the composer’s memory, and his genius.
Kabalevsky was born two years before Shostakovich and likewise studied with
Myaskovsky among others, but he was the Good Boy, the Rollo, among Soviet composers:
not once publicly reprimanded for deserting the party line, not even in Zhdanov’s
denunciation of Shostakovich and Prokofiev among others in 1948. He composed
solo works, concertos and symphonies during his lifespan of 83 years, and was
celebrated as a teacher in later decades. His two best-known works in the west
are the Overture to Colas Breugnon (a favorite of Toscanini and Reiner)
and The Comedians, a lightweight suite of which Arthur Fiedler and
his Boston “Pops” audiences were especially fond. The piano concertos
were more conventional stuff for their time – No 1, written when Kabalevsky
was 24, echoes Rachmaninov without comparable tunes, while No. 2 (1935, revised
in 1972) is a virtual homage to Prokofiev’s Soviet-style sauciness (meaning
easy on the hot sauce). In-Ju Bang, a prodigiously gifted Korean who was just
14 when she recorded these in 2004 – the year she won the gold medal
in conductor Yablonsky’s Puigcerda Festival on the French-Spanish border,
founded in 1998. Her program bio says that Bang (who doesn’t, although
she can produce a formidable sonority) is studying this year at The Juilliard
School. Yablonsky, whose mother (Oxana Yablonskaya) was a widely-praised pianist,
and whose father was the Moscow Radio-TV Orchestra’s principal oboist,
began his musical career as a cellist but started conducting in 1990, and by
1999 was appointed principal guest conductor of the Moscow Symphony. Three
years later he was named Principal Conductor of the Russian Philharmonic (which
raided several Russian orchestras for their best players), and obviously knows
his business. At age 44, he deserves the kind of podium career other former-cellists
have enjoyed, and Naxos has been making the most of him. The Russian State
recording studio handles both dynamics and tonal extremes from top to bottom
creditably. Given the brevity of this program, it’s a pity Kabalevsky’s
Fourth Piano Concerto couldn’t have been squeezed in (although arguably
Ms. Bang has yet to learn it). Verdict: For piano lovers who like their 20th-century
music mellow.
Given the reputation of Josef Bohuslav Foerster (born in 1859, a year before
his friend and fellow-Bohemian Mahler, whom he outlived by 40 years) in what
used to be Czechoslovakia before the schism that produced two nations, his
state-side reputation on discs has been inexplicably negligible. Although he
composed five operas, five symphonies, four masses, Czech-flavored tone poems,
a cello concerto and assorted chamber works, there have been only three recordings – including
this new one – of his acknowledged masterpiece for orchestra, the “Easter
Eve” Fourth Symphony, premiered in 1905. Rafael Kubelik made the first
one in 1948; the other was a clog-footed version by Vaclav Smetacek, a willing
collaborator with whatever regime occupied Czechoslovakia. It is a work that
Kubelik took 49 minutes to interpret, two more than Lance Friedel on Naxos
who plays it and the two shorter companion pieces with a fervor matched in
his excellent program note. All three works, despite Foerster’s longevity,
are fin de siécle; the newest is the 1907 Festive Overture composed
for the opening of a theater in Prague; the oldest, and arguably the loveliest
melodically as well as temperamentally, is My Youth (Mé Mládi)
written soon after his move to Vienna in 1903 for the next 15 years at Mahler’s
invitation. It suggests a charmed childhood and, were it not for Foerster’s
prior date of composition, a Bohemian cousin of Richard Strauss’ Rosenkavalier.
However, the symphony was a grander undertaking, philosophically and religiously
as well as musically. Far from Strauss (although not, perhaps, Dvorak in the
subject matter and scoring of the scherzo, marked Allegro deciso),
it is in the structural and spiritual thrall of Bruckner, most notably the
Fifth Symphony. An Easter hymn among its themes is played on a distant church
organ, which leads to a mightily proclamative coda in the home key of C major.
The playing of the Slovak Radio Symphony at Bratislava is especially beguiling
in My Youth, although for maximum effect the “Easter Eve” Symphony
needs a Czech or Vienna Philharmonic – a full instrumental panoply which
the SRS simply hasn’t the resources to match – nor is the recording
quite open and full-blooded, although a paragon of clarity. For all that, Friedel
continues to impress as he did in MSR Classics' recent collection of tone poems
and the Aladdin Suite of Carl Nielsen. With Yablonsky, Friedel and
Schwarz on the roster, Naxos may be proud of its talent-scouting, leaving us
anxious for more. Congratulations all around.
R.D. (May 2006)
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