Classical

Kalinnikov: Tsar Boris – Epic Poem – Nymphs (1989)

2016-01-18T17:05:06Z

Kalinnikov: Tsar Boris – Epic Poem – Nymphs (1989)


1. Tsar Boris: Overture: Moderato assai - Allegro (12:23)
2. Tsar Boris: Entr'acte to Act 2: Andante con moto (5:27)
3. Tsar Boris: Entr'acte to Act 3 (6:26)
4. Tsar Boris: Entr'acte to Act 4: Andante (6:07)
5. Tsar Boris: Entr'acte to Act 5: Allegro (7:35)
6. Bïlina (Epic Poem) (11:13)
7. The Cedar and The Palm (12:44)
8. The Nymphs (9:32)

Budapest Symphony Orchestra
Antal Jancsovics – conductor

I've been a great fan of Kalinnikov ever since I heard Svetlanov's old recording of Symphony No.1. What a crime that it remains so little known, as melodically it rivals so much of the 'warhorses' of the Russian school, and is the equal of any of Tchaikovsky's early symphonies, to say nothing of Balakirev's or Rimsky's (save 'Antar,' perhaps). Kalinnikov died early and in poverty, so he undoubtedly had little time or composure to do serious work. Nevertheless, what remains is a handful of wonderful pieces, full of memorable, and often ingenious melodies, sure-fire orchestration, and a Russian mastery of form (which no Russian composer of the late 19th century was without). Though Kalinnikov is usually lumped with those 'lesser masters' such as Glazunov, Lyapunov, Arensky, Gliere, and Ippolitov-Ivanov, I believe he might have been the best of the lot, had he not died so prematurely. Only Glazunov can match him for tunes, but Glazunov (much as I adore him) can tend to sound too Rimsky or Borodin; Kalinnikov, though composing in the shadow of the Five, still manages to sound distinct. I think if he had lived he might have snatched the title of Tchaikovsky's heir from Rachmaninov, whose early works (Prince Rostislav, Capriccio on Bohemian Themes, The Rock) sound an awful lot like Kalinnikov.

But to this recording: to be honest, the Budapest Symphony Orchestra plays quite well, though the old Marco Polo recording is far from ideal. Tempos are sometimes slow, as in the Overture to Tsar Boris, though I really only have Jarvi to compare it to, and he's famous for taking things at brake-neck speeds. Still, it's a strong performance and among the better Marco Polo recordings I own (some offer horrific sound). I have no qualms whatever about the music--it's priceless. I know the previous reviewer found nothing to recommend them, which I find baffling; the Overture to Tsar Boris is a stunner. Unison strings and winds introduce a grim theme which is quickly swept aside by the brass. The dark theme returns again and again, but Kalinnikov is more interested in exploring other aspects of the play, including a rousing march and gorgeous, Borodin-esque melodies. The other pieces in the suite are equally compelling; the second movement is a grim, minor-key piece that gains in power until the entire orchestra chimes in. A march and a slow movement follow before the rousing--and very Rimsky-esque--conclusion. Again, everything is memorable, tuneful, and always unique without being truly original.

The Epic Poem ('Byilina' in Russian) is just that, a piece cut from the same cloth as Rimsky's Skazka, though somewhat less eventful. This is more of a prelude to a legendary ballad, a simple framework to showcase more of Kalinnikov's trademark melodies. The true highlight of the disc is 'The Cedar and the Palm,' which contrasts a 'Russian' theme (the Cedar) with a sinuous, exotic Oriental melody (the Palm). It's almost as direct as Borodin's In the Steppes as Central Asia, and equally appealing; any orchestra would get an ovation from this piece if it were played occasionally to give Tchaikovsky's 'Romeo and Juliet', say, a rest. 'The Nymphs' is a more fiery piece, attempting to evoking a mythical drama that, while not exactly Kalinnikov's strong suit, still offers his command of musical structure and gorgeous melodies.

This is a disc for anyone who enjoys Rimsky, Borodin, Balakirev, and Tchaikovsky's more nationalist works. While at first blush it might sound very much like Borodin (whom Kalinnikov greatly admired), further listening will reveal his musical thumbprint, which I believe was the beginning of a major composer. Imagine if Tchaikovsky had died before composing his Fourth? Would he, too, have languished on Marco Polo as a forgotten master? Though these works are not quite in the same league as his major utterances, the First and Second Symphonies, they offer a much fuller portrait of his aesthetic, and I never tire of listening to it. A pity Naxos never reissued it with improved sound to reach a new generation of listeners... ---Joshua Grasso, amazon.com

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Vasily Kalinnikov - Symphonies Nos. 1 & 2 (1997)

2011-07-10T09:01:58Z

Vasily Kalinnikov - Symphonies Nos. 1 & 2 (1997)


1. Symphony No. 1 in G minor: I. Allegro moderato 14:12
2. Symphony No. 1 in G minor: II. Andante commodamente 7:15		play
3. Symphony No. 1 in G minor: III. Scherzo: Allegro non troppo - Moderato assai 7:40
4. Symphony No. 1 in G minor: IV. Finale: Allegro moderato 8:40
5. Symphony No. 2 in A major: I. Moderato - Allegro non troppo 10:17
6. Symphony No. 2 in A major: II. Andante cantabile 8:08
7. Symphony No. 2 in A major: III. Allegro scherzando 8:09		play
8. Symphony No. 2 in A major: IV. Andante cantabile - Allegro vivo

Royal Scottish National Orchestra
Neeme Järvi - conductor

Vasily Serge's life is another example of an incredibly talented artist's being taken before his/her full bloom. Based upon the few works he left, one can only guess as to what greatness he might have arisen.

I have the separate CD's of the two symphonies which are the basis for this release. I found that the performances seem to emphasize the brass section of the orchestra which gives the recordings a rather bright tone that can cause listener fatigue under certain situations. The tempo of the second symphony is quite quick especialy the last movement marked Allegro vivo.

Personally I prefer the interpretations of these two symphonies by The Symphony Orchestra of Russia conducted by Veronika Dudarova. Performed at a more moderate tempo and with a warmer tone, this recording has a more sonicly pleasing presentation to these ears.

Regardless of the orchestra, listening to these symphonies will cause one to grieve about Kalinnikov's short life. Perhaps had he lived his name would be up with those of the great Russian composers. One can only guess. --- R. Michael Craig

Vasily Sergeyevich Kalinnikov (1866 – 1901) was a Russian composer of two symphonies, several additional orchestral works and numerous songs, all of them imbued with characteristics of folksong. His symphonies, particularly the First, were frequently performed in the early 20th century.

Kalinnikov was a policeman's son. He studied at the seminary at Oryol, becoming director of the choir there at fourteen. Later he went to the Moscow Conservatory but could not afford the tuition fees. On a scholarship he went to the Moscow Philharmonic Society School, where he received bassoon and composition lessons from Alexander Ilyinsky. He played bassoon, timpani and violin in theater orchestras and supplemented his income working as a music copyist.

In 1892, Tchaikovsky recommended Kalinnikov to be the director of the Maly Theater, and later that same year to the Moscow Italian Theater. However, due to his worsening tuberculosis, Kalinnikov had to resign from his theater appointments and move to the warmer southern clime of the Crimea. He lived there at Yalta for the rest of his life, and it was there that he wrote the main part of his music, including his two symphonies and the incidental music for Alexey Tolstoy's Tsar Boris. Exhausted, he died of tuberculosis on January 11, 1901 just before his 35th birthday.

Thanks to Sergei Rachmaninoff's help, Tchaikovsky's publisher Pyotr Jurgensen bought three Kalinnikov songs for 120 rubles, and later the Symphony No. 2 in A major. The Symphony No. 1 in G minor, which uses some cyclic principles, was performed in Berlin, Vienna and Moscow during his lifetime, but not published until after his death, so Jurgensen increased the fees he would have paid Kalinnikov, and paid them to his widow. He was also survived by a brother, Viktor, who composed choral music and taught at the Philharmonic School.

He is most well known for his First Symphony, written between 1894 and 1895, whose themes are characteristic of Russian music.

In Russia his First Symphony remains in the repertory, and his place in musical history there is secure (Spencer 2001). On November 7, 1943, Arturo Toscanini conducted the NBC Symphony Orchestra in a rare broadcast performance of the First Symphony; although the performance was recorded, it was never commercially released by RCA Victor, but has recently appeared on Relief CR 1886 (anon. [n.d.]b, 15).

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Vasily Kalinnikov – Orchestral Works (1990)

2013-03-20T17:17:45Z

Vasily Kalinnikov – Orchestral Works (1990)


1. Overture In B-flat Major (Bylina)
2. Serenade For String Orchestra In G Major
3. The Cedar And The Palm - Symphonic Picture After Heine
4. The Nymphs - Symphonic Picture After Turgenev

USSR Symphony Orchestra
Evgeny Svetlanov – conductor

Like those of his Belgian contemporary Lekeu and his older countryman Mussorgsky, the story of Vasily Kalinnikov is a tragically short one in which a handful of works gives a tantalizing glimpse of what may have been.

Born is the village of Voin in the province of Orlov, Kalinnikov was the son of a cleric who also held the position of local police chief. The elder man was musically inclined, playing guitar and accordion as well as singing in the church choir. Young Vasily learned the latter instrument on his own and with the help of the village doctor, later adding the violin to his accomplishments. Further on he joined the church choir, learning the basics of music theory in the process and becoming the choir conductor at 14. Kalinnikov resolved to make music his career.

At 18 and with the most tenuous of financial resources, Kalinnikov set out for Moscow to study music at the conservatory, transferring to the Philharmonic Music School a half year later. While there, he bolstered his meager income by taking a course in bassoon, which resultantly enabled him to play in various orchestras as bassoonist, violinist, or timpanist. He also took on work as a music copyist.

Having graduated, Kalinnikov held various teaching posts and was assistant conductor at an opera company. However, the delayed effects of the strain of holding multiple positions during his student years undermined his health and he contracted tuberculosis. For this the composer traveled south, meeting Tchaikovsky in 1892. He received praise from the older man when he showed him the score of his own orchestral suite. This encouragement was a morale boost for the ailing young composer and he began work on his First Symphony in C minor. Completed in 1895, it was performed by the Russian Music Society in 1897. By that year, Kalinnikov had also completed his Second Symphony in A flat, this despite consumption of the throat compounding his health problems. The following year he completed the symphonic poem The Cedar and the Palm and received a commission to provide incidental music for a production of Tolstoy's Tsar Boris, for which he completed a substantial amount of music. But the young man's skein was running out and he succumbed to his illness on January 11, 1901, too frail to attend a performance of his Prologue to Boris.

In the centenary year of his birth recordings of the two symphonies led to the discovery of Kalinnikov by the public. While his premature passing is to be lamented, the small body of works which he left are very enjoyable exercises in late Russian Romanticism. Although these pieces are unmistakably Slavic in flavor, they seem to escape the brooding and gloom so omnipresent of his time and place in the arts, all the more curious given the external misery of his life. As such, Kalinnikov's work, especially the symphonies, are a happy if lesser known addition to the Russian orchestral literature. --- Wayne Gerard Reisig, All Music Guide

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