Shchedrin: Concertos for Orchestra Nos. 4 and 5 (CD review)

Also, Kristallene Gusli.  Kirill Karabits, Bournemouth Symphony Orchestra.  Naxos 8.572405.

If you are like me, you may be more familiar with the Carmen Suite, the arrangement Russian composer Rodion Konstantinovich Shchedrin (b. 1932) made of Bizet's music in 1967 than anything else he's done.  I confess I had reviewed an earlier recording of other Shchedrin works a few years ago and couldn't remember them.  I'm afraid it's that kind of music:  enjoyable, original, inventive, evocative, highly personal, and entirely forgettable.  No offense intended, however, because I mean that as a kind of backhanded compliment; Shchedrin's music is enjoyable in the moment but not the kind of thing you go around humming afterwards.

Anyway, on this new Naxos release we get two Concertos for Orchestra from Shchedrin and one little tone poem, all of which Naxos recorded here for the first time.  They break no new ground, but they are engaging enough to occupy a pleasant hour of one's time.

Shchedrin fills his 1989 Concerto for Orchestra No. 4 "Khorovody" (Roundelays) with an abundance of clever ideas and unusual combinations of instruments.  Played as a single, extended series of round dances nearly a half an hour long, it is mostly gentle and relaxed, accelerating as it goes along, with echos of whistling winds, sleigh bells, distant thunder, folklike dance tunes of the composer's invention, with a recurring recorder keeping it all knit together.  By the time it concludes, the music has built up into a minor fury, finally subsiding back into the calm in which it started.  Conductor Kirill Karabits and his Bournemouth Symphony players maintain an easygoing approach to the music and appear to enjoy a time well spent.

Concerto Orchestra No. 5, also premiered in 1989 and again set in a single movement, is a bit shorter than No. 4 at a little over twenty minutes and scored for a slightly smaller ensemble.  This time Shchedrin uses a well-known Russian folk tune in the work, but the mood remains the same as the composer takes us on a musical journey via horse and carriage through various landscapes.  Shchedrin says these treks are nostalgic childhood memories of his.  Fair enough.  It's all enjoyable stuff if somewhat light and not a little wistful in its sonorities.

I rather enjoyed the brief concluding piece, Kristallene Gusli (Crystal Psaltery), best of all.  Composed in 1994, it reminds one of exactly what conductor Karabits says of it, describing it as sounding "like Japanese wind chimes."

There is plenty of clarity to the Naxos sound, making the diverse solo percussion instruments stand out smoothly and accurately.  The orchestra never appears fogged over but displays ample detail and air.  There is a particularly wide stereo spread involved, so the overall effect can be quite dramatic, though not overpowering.  The only minor drawback is that the music can get a trifle bright and forward at times; however, it is never too distracting.

JJP

1 comment:

  1. I bought this record and I think the music of this man is downright awful. Concerning the concert 4 everything goes more or less well until the 17:40 minute. From that moment a series of frightful dissonances take place that last until the minute 19:20 and beyond. And the rest of the record is totally bland. Too soft moments are alternated with other excessively stentorous ones. Frankly insufferable.

    ReplyDelete

Meet the Staff

Meet the Staff
John J. Puccio, Editor, Publisher, Reviewer

Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on The Big John and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.

Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.
Karl W. Nehring, Contributing Reviewer

For more than 20 years I was the editor ofThe $ensible Soundmagazine and a regular contributor to its classical review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simple-minded, but I know I appreciate reading reviews by others that do the same for me -- point out recordings that I think I might enjoy.

For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises an Onkyo C-7030 CD player, Legacy Audio StreamLine preamplifier, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE speakers augmented by a Legacy Point One subwoofer. I also do a lot of listening while driving in my 2016 Acura RDX with its nice-sounding ELS Studio sound system through which I play CDs (the ones I especially like I rip to the Acura's hard drive so that I can listen to them whenever I want) or stream music through the system using my LG G7 ThinQ cell phone, which features surprisingly sophisticated audio circuitry. For more casual listening at home when I am not in my listening room, I often stream music through the phone into a Vizio soundbar system that has remarkably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom Bluetooth speaker for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can't imagine life without music and I am humbly grateful for the technology that enables us to enjoy it in so many wonderful ways.
Bryan Geyer, Technical Analyst

I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.

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"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa