Rachmaninov: Songs, Vol. 2

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Two figures in particular haunt this second volume of Chandos's survey of Rachmaninov's songs – Feodor Chaliapin and Rachmaninov himself. They had become friends in the years when they worked... — Gramophone Classical Music Guide, 2010 More…

Catalogue No: CHAN9451
Label: Chandos
Length: 71 minutes

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Rachmaninoff: 12 Songs without Opus: IX. Were you hiccoughing, Natasha?

Work length1:37

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Sergei Leiferkus, Howard Shelley

Rachmaninoff: Night

Work length3:15

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Maria Popescu, Howard Shelley

Rachmaninoff: Songs (12), Op. 21

Work length31:32

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Sergei Leiferkus, Alexandre Naoumenko, Joan Rodgers, Maria Popescu, Howard Shelley

I. Fate

Track length7:13

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II. By a fresh grave

Track length1:49

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III. Twilight

Track length2:07

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IV. They replied

Track length1:49

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V. Lilacs

Track length2:03

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VI. Fragment from A. Musset

Track length1:57

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VII. How peaceful

Track length2:12

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VIII. On the death of a siskin

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IX. Melody

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X. Before the icon

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XI. I am not a prophet

Track length1:31

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XII. How pained I am

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Rachmaninoff: Songs (15), Op. 26

Work length35:18

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Maria Popescu, Sergei Leiferkus, Joan Rodgers, Alexandre Naoumenko, Howard Shelley

I. There are many sounds

Track length2:31

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II. All was taken from me

Track length0:57

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III. We shall rest

Track length2:16

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IV. Two farewells

Track length4:29

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V. Let us leave, my sweet

Track length2:21

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VI. Christ is risen

Track length2:49

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VII. To my children

Track length3:30

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VIII. I beg for mercy

Track length1:15

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IX. I am again alone

Track length1:49

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X. At my window

Track length2:08

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XI. The fountain

Track length1:27

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XII. Night is sorrowful

Track length2:24

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XIII. Yesterday we met

Track length2:57

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XIV. The ring

Track length2:35

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XV. All passes

Track length1:50

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Reviews

2010

Two figures in particular haunt this second volume of Chandos's survey of Rachmaninov's songs – Feodor Chaliapin and Rachmaninov himself. They had become friends in the years when they worked together in an opera company and when Rachmaninov was concentrating on developing his piano virtuosity. As a result the Op 21 songs are dominated by an almost operatic declamatory manner coupled with formidably difficult accompaniments. Leiferkus rises splendidly to the occasion, above all in 'Fate' (Op 21 No 1), and so throughout the songs does Howard Shelley. He's unbowed by the technical problems and he understands the novel proportions of songs in which the piano's participation has an unprecedented role. He also enjoys himself in the roisterous exchanges with Leiferkus in what's really Rachmaninov's only lighthearted song, Were you hiccoughing? The songs for the other voices are less powerful, in general more lyrical and intimate.
Alexandre Naoumenko only has five songs, and they aren't, on the whole, among the more striking examples, but he responds elegantly to 'The fountain' (Op 26 No 11). Maria Popescu gives a beautiful account of one of the most deservedly popular of them all, 'To the children' (Op 26 No 7), and of the remarkable Merezhkovsky setting, 'Christ is risen' (Op 26 No 6). Joan Rodgers is enchanting in 'The Lilacs' (Op 21 No 5) and moving in the song acknowledging that love is slipping away, 'Again I am alone' (Op 26 No 9). She has complete mastery of the style, and nothing here is finer than her arching phrase ending 'How peaceful' (Op 21 No 7) – 'da ty, mechta moya' (and you, my dream) – with Shelley gently articulating Rachmaninov's reflective piano postlude from the world of Schumann.

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