Tchaikovsky: The Nightingale Op. 60 No. 4

Elisabeth Söderström was a born storyteller. She told stories not just in music, but also peppered her recitals on stage with tales and anecdotes. It made her a perfect interpreter for the collection of children’s songs by Mussorgsky, Prokofiev and Gretchaninov she recorded with Vladimir Ashkenazy in 1977–78 which appear on CD2 of this set, the first (LP) issue greeted with enthusiasm by Gramophone reviewer W.S.M. with the words ‘the best record of song to appear in 1979’. It later went on to win the 1979 Gramophone’s Solo Vocal Award. But there was more: a selection of Tchaikovsky songs over two LPs; a substantial survey of the Rachmaninov songs (‘one of the gramophone’s crown jewels’ wrote John Steane in Gramophone) as well as the complete Sibelius songs.

Born in Stockholm on 7 May 1927 to a Russian mother and Swedish father, Söderström she was a talented recitalist, as much in demand in the concert hall as she was in the opera theatre. From 1991–96 she also directed the Drottingholm Festival Opera with much success. The two LPs of Tchaikovsky songs were issued in part by Decca on CD and this is their first complete release in this format. Overshadowed by his orchestral works, they are nonetheless absolute gems, with their piano parts of almost orchestral scope. Ashkenazy’s is, too, the disembodied voice that speaks a few of Pushkin’s lines in the early setting of Zemfira's song.

‘Söderström came to be known internationally in the late 1950s,’ wrote John Steane, ‘and over the next three decades, on until her retirement from singing in the early 1990s she never “blotted her copybook”. She neither sought nor won cheap success.’ Söderström passed away in Stockholm on 20 November 2009, aged 82, from complications from a stroke.

This release marks the launch of an Eloquence series of notable recitals of songs and opera arias by some of the great voices of Decca and Deutsche Grammophon.

Few Russian composers could resist setting verses by Alexander Pushkin, and his influence on the development of Russian music was indirectly as great as his influence on literature. This collection demonstrates the compelling power of the poet, and the beauty of the music he inspired. It is performed by Joan Rodgers, herself an acknowledged master of Russian repertoire, and Malcolm Martineau.

‘I find this British singer’s identification with Tchaikovsky almost uncanny. Having heard countless performances … in my native Russia, I was totally overcome by Rodgers’ unaffectedness and sincerity … her intonation is faultless, her Russian excellent. A rare treat indeed’ (Vladimir Ashkenazy)

In the field of choral music Tchaikovsky is known as the first Russian composer to have composed cycles of the Liturgy and the Vespers, but his considerable output of secular choral music is less well-known, and a delightful surprise. These secular choruses are little jewels, written for various types of choir, with all the familiar qualities of melody and rich harmony that we associate with Tchaikovsky.

Some, including Autumn, Child’s Song and A Legend (from 16 Children’s Songs Op.54), and the pastoral Dawn were written for solo voice or duet, and Night, a vocal quartet with piano, but Tchaikovsky soon realised that they sounded better as choruses. Autumn and Child’s Song both have a tenor solo, and contrast well with each other: a misty autumnal poem of lethargic melancholy and a comical, playful little ditty. Another highlight is the melancholy Old French Air, with its timeless charm, which also appears as a minstrel’s song in Tchaikovsky’s opera The Maid of Orleans. Other works of note include the radiant Nature and Love, a sentimental trio for soprano, mezzo and contralto, three-part female chorus and piano, and the meditative nocturne Before Sleep, composed in his student years. Greeting to Anton Rubinstein is an extraordinary seven part piece written for the 50th anniversary of Rubinstein’s career.

The Nightingale is without a doubt Tchaikovsky’s finest achievement in choral music, a magnificent reconstruction of a folk song. The vocal quartet Night is a tribute to Mozart, who Tchaikovsky idolised, and is an arrangement of the middle section of Mozart’s Fantasy in C minor for piano. The finale, Neapolitan Air, is a little choral divertissement whose tune was derived from Swan Lake.

Tchaikovsky wrote over 100 romances, settings of short poems, which are touching and sincere. The melodies are diverse and original and the accompaniment is rich and often very independent. These compositions are performed here by some outstanding Russian vocalists. As well as those listed above, the recording includes performances by the tenor Lemshev.

Third of 13 CDs containing his complete recordings, in chronological order.

Booklets contain full original texts with facing English translations, along with rare and unpublished photos.

All tracks arranged for children's choir