Mark Ermler

It seems strange that such a celebrated composer as Alexander Borodin actually spent much of his life as a distinguished research chemist. While working as a professor in Chemistry at the University of St Petersburg in 1862, Borodin met pivotal composer Mily Balakirev, who encouraged him to explore the musical world, and began to tutor him in harmony and counterpoint. The rest, as they say, is history. The First Symphony is notable for the rhythmic interest of the first movement and the lively second movement, which shows the influence of Mendelssohn, with the third movement full of heartfelt romanticism– a fitting contrast to the resplendent final movement.

The work is followed by In the Steppes of Central Asia, a symphonic poem dedicated to Franz Liszt and in which Russian and Asiatic folk‐tunes are combined with other techniques to create a utopian image of the Russian landscape. Then comes the iconic Symphony No.2, regarded by many as the pinnacle of Borodin’s symphonic achievement. Completing the line‐up is the Symphony No.3 in A minor – a work that remained unfinished at the time of Borodin’s death but was later completed by the young prodigy Alexander Glazunov, who perfectly captured the older composer’s style.

The Symphonies are performed by the Symphony Orchestra of the Bolshoi Theatre, conducted by Mark Ermler, while In the Steppes of Central Asia is played by Armenian Philharmonic Orchestra, under the baton of Loris Tjeknavorian.

The composer Edvard Grieg was at the forefront of a flourishing of creativity that took place in Scandinavian culture in the late 19th and early 20th centuries, alongside his contemporaries, Nielsen and Sibelius.

His imagination was particularly fired by the folk music and stories of his native Norway; it is, therefore, unsurprising that the music that resulted from this passion is some of his most popular with listeners. One such example is Peer Gynt, incidental music composed for Henrik Ibsen’s play, based on the Norwegian folk tale Per Gynt. Although the play itself met with a mixed reception, Grieg’s music, extracted and turned into two orchestral suites in 1888 and 1891, has become a staple of the concert hall – there cannot be many listeners unfamiliar with the fantastical sounds of ‘In the Hall of the Mountain King’ or the sublime evocation of sunrise in ‘Morning Mood’.

Dedicated to the 200th anniversary of Liszt’s birth, this release includes performances by some of the greatest musicians. The works include Mephisto Waltz, Tarantella, Sonata in B minor, Hungarian Rhapsodies Nos. 2 & 6 and Piano Concerto No. 1.

In 1892 Tchaikovsky wrote “Eight years go I read the dramatic play of the Danish playwright Henrik Hertz titled ‘King Rene’s Daughter’. The plot captivated me with its originality, poetic qualities and abundance of lyrical moments. At that time I made a promise to myself that I would sometime set it to music. As a result of numerous obstacles, only last year I could carry out my resolution.”