Tchaikovsky: The Seasons, Op. 37b: June (Barcarolle)

Sir Neville Marriner is one of the most versatile conductors of our time. Alongside his recordings of Baroque and Classical repertoire, he has also made a name for himself as an interpreter of Romantic orchestral music, as this compilation shows: it contains popular works from the highly colourful French and Russian repertoire, including new discoveries like Tchaikovsky's Barcarole, which can certainly hold a candle to the famous work of the same name by Offenbach, and the Berceuse by opera composer Benjamin Godard.

Many European countries have vied with one another in claiming the largest number of piano virtuosos. No one would dispute, though, that Russia has generated more than its share. The so-called ‘Russian piano school’, which originated in the 1800s with brilliant performers such as Alexander Siloti and brothers Anton and Nikolai Rubinstein, continues to produce first-class pianists, and to influence performance styles and keyboard virtuosity all around the world.

Given Russia’s richness in superstar pianists, it is not surprising that Russian composers have composed extensively for the piano. Some of the composers represented in this collection were impressive pianists in their own right, and they composed music designed to display their own technique and artistry. Others were more modestly gifted as performers, but still composed idiomatically for the piano.

This collection brings together recordings by Vladimir Ashkenazy spanning some 40 years, from November 1963 (the three Rachmaninov Études-Tableaux) to March 2004 (the Kocsis transcription of Vocalise). Some of them appeared as fillers for bigger works – for instance, the Études-Tableaux were coupled with the 1964 recording of Rachmaninov’s Piano Concerto No. 2 with Kyril Kondrashin, one of Ashkenazy’s earliest recording for Decca, and his first solo recording for the label. Tchaikovsky’s Dumka and the pieces by Taneyev, Liadov and Borodin were recorded in January 1983 and issued on LP as a coupling for his digital recording of Mussorgsky’s Pictures at an Exhibition. The two pieces from Prokofiev’s Romeo and Juliet were taped in 1968 as couplings for the composer’s Eighth Piano Sonata.

The fifth volume in this much admired series offers another fascinating anthology. Of the 17 pianists, the two oldest are the long-lived Cornelia Rider-Possart (1865-1963) who can be heard on an exceptionally rare, non-commercial 1926 Berlin disc, in the first recording of Scriabin’s Etude, Op. 42, No. 3, and Etelka Freund (1879-1977), a pupil of Brahms, who performs one of his Intermezzos in 1952. Jean Melville, a distant relation of Arthur Sullivan, plays Valse arabesque in London in 1923, whilst Johana Harris who, together with her husband, the American composer Roy Harris, enjoyed a highly successful career, can be heard playing Frescobaldi in Los Angeles.

Marina A. Ledin & Victor Ledin, producers

This collection has been prepared with three main aims: firstly to prove that the so-called boundaries between light and classical music are not as insurmountable as some people seem to imagine; secondly to illustrate that many composers, who may usually be associated with more serious works, also had their lighter moments; and thirdly to offer several examples of the tasteful way in which arrangers of the 20th century adapted the classics to make them more instantly appealing to their audience. For many years such ‘tampering with the classics’ was banned by the BBC in Britain, although commercial recordings could be freely purchased. However a lack of broadcasts obviously affected sales, which partly explains why such recordings were more common in the United States than in Britain. Among the leading US musicians who often strayed into classical territory were David Carroll, Andre Kostelanetz, Percy Faith, Clebanoff and even Ray Conniff. They are joined by Charles Williams, Angela Morley and other familiar figures on the UK scene.

This CD includes Rachmaninov’s Études-Tableaux Op.33 and Op.39, as well as many of Tchaikovsky’s piano works; Four Pieces from the cycle “The Seasons” Op.37, Nocturne in F major Op.10, Valse- Scherzo in A major Op.40, Humoresque Op.10, Capriccio Op.19 etc. The performances were recorded at the grand opening of the Rachmaninov Hall of the Moscow Conservatory, June 1983.

We have already featured Lev Oborin (on APR6005) playing Rachmaninov's second and third Concertos, and that he was entrusted with the first ever Soviet recordings of these works shows the status he held at that time. He studied with Igumnov at the Moscow Conservatory from the age of 14 and in 1927, at the age of 19, he won the first Chopin competition. From this time on until his death he was central to Russian musical life both as performer and teacher (he taught Vladimir Ashkenazy amongst many others). Oborin was the 'complete' pianist. He had a magnificent technique and seemed to be able to play any style of repertoire convincingly. He was also equally at home as soloist or chamber player, indeed in the West he is still perhaps better know as accompanist to the great violinist David Oistrakh due to the recordings they made together. The present CD presents Oborin as classicist in Beethoven, as the great Chopin interpreter, as virtuoso in the Liszt Rhapsody and as Russian lyricist in the Tchaikovsky. He is magnificent in all.