Alexander Borodin's Second String Quartet has vastly superceded the First in popularity. Musicologists tend to bemoan this fact, citing the earlier work's greater compositional ingenuity. Yet most listeners are understandably drawn to Quartet No. 2's irresistible tunefulness (two of its melodies were used as songs in the Broadway musical Kismet). The St. Petersburg Quartet emphasizes the intellectual rigor of No. 1, making a connection between it and Beethoven's late quartets. The playing, with its smoothness and clean intensity, lends an especially bleak cast to the rhapsodic Andante con moto, sounding here like a precursor to the quartets of Shostakovich.

This ensemble takes a more lyrical approach for No. 2, which is full of feeling yet maintains a strong sense of line (the first movement's argument is seamlessly realized here). Both performances are quite satisfying and are recorded in wonderfully clear, detailed, dynamically realistic sound by Dorian. Fine as these performances are, the Borodin Quartet on EMI displays even greater imagination throughout both performances (especially in the finale of No. 2), and a more deeply felt passion (No. 1's first movement and No. 2's Notturno). However, the cavernous Melodiya recording tends to blur some detail and adds an element of gigantism to the readings. So, it looks like the Dorian is the more generally recommendable version. It's quite enjoyable, and if you don't know these pieces, you've got quite a treat in store.

--Victor Carr Jr., ClassicsToday.com

This album of orchestral showpieces features four of the five members of the Mighty Handful, a group of Russian composers who, during the second half of the 19th century, collaborated to create a distinct national style. The recorded works illustrate different aspects of their endeavors – both in terms of the musical means they employ and their subject matter. Orientalism is one of the typical features of the music of the group, as witness Balakirev’s Islamey – employing material from the Caucasus Mountains – and Borodin’s Polovtsian Dances, describing the revels of a nomadic eastern tribe during a 12th-century raid into the Russian lands. The most individual of the group was Modest Mussorgsky, with a musical language both powerful and startlingly vivid in imagination. His celebrated Pictures from an Exhibition was composed in 1874 as a tribute to a recently deceased artist friend, and takes in such specifically Russian elements as the fairy-tale witch Baba Yaga and the Great Gate of Kiev. Originally written for the piano it is here performed in the 1922 orchestration by Maurice Ravel. Also by Mussorgsky, the opening Night on the Bare Mountain paints a witch’s Sabbath in bold brushstrokes, and was re-orchestrated by Rimsky-Korsakov after the composer’s death. It is his version, with more sumptuous orchestral textures and a tighter formal plan that is heard here, performed by the Singapore Symphony Orchestra and Lan Shu

Hidden behind the late 19th century’s great symphonies, sumptuous ballets, and concertos with moving climaxes is something much more thoughtful and contemplative. This secret landscape comes courtesy of a few precious pieces for string orchestra by three Russian composers, all active at approximately the same time.

The extremely simple theme in 3/4, from Glazunov’s Theme and Variations in G Minor, Op. 97, has the feel of a solemn, ancient dance, simultaneously nostalgic and sombre. In another example of Glazunov’s crystal-clear yet expressive writing, the string orchestra provides the backdrop and conversation partner for a solo instrument that was a rarity in concertos at the time: the saxophone. Overall, despite the explosive counterpoint in the work’s final movement, it is a dreamy composition, never overly dramatic, and subdued and melancholy in places: almost elegiac, in other words.

The two elegies Tchaikovsky composed for string orchestra are highly refined works that reveal another side to the famous composer. In the same period that Tchaikovsky was writing his elegies, between 1880 and 1885, the composer and chemist Alexander Borodin was drafting his second Quartet. The third movement, a Nocturne, is one of Borodin’s finest works. It was therefore not only written at the same time as Tchaikovsky’s elegies, but also shares their gracefulness.

REVIEW:

Sieva Borzak (b. 1997) serves as the Conductor-in-Residence of the Roma Tre Orchestra, a collegiate ensemble that, when founded in 2005, became the first of its kind in central Italy.

The young musicians play with an artistic maturity and sensitivity well beyond their age; and the entire program bathes the listener in the timeless and contemplative romantic soundscape of the pre-Soviet school. Even so, this remains a student ensemble; and moments of stunning beauty are sometimes followed by shaky intonation and patchy teamwork. Taddei has all the tools for a solo career, executing the Glazounov concerto with splendid poise, expressive phrasing, and superb technique; but his free-blowing set-up always seems on the edge of spreading, even if his control is very good. Nevertheless, this is a fascinating preview of what the next generation of Italian talent has to offer.

-- American Record Guide

The present album is a re-release of Bavarian broadcast recordings of 1953-56 featuring legendary bass-baritone George London at the height of his career. Upon its initial release, the album received glowing reviews from critics and fans, and this now can be enjoyed by a new generation of listeners. “(The) collection is vintage London all the way“ (American Record Guide) “The extracts from Aida and Die Walküre with Astrid Varnay are electrifying“ (BBC Music Magazine) “This is a worthy representation of a singer whose career was ended too soon.“ (International Record Review)

REVIEWS:

The excerpts on the present disc are uniformly excellent, and the recorded sound is surprisingly good. … London is a sensitive and expressive Dr. Miracle, and with excellent assistance from Teresa Stich-Randall and Maria von Ilosvay. With Russian speaking parentage, London had a special leaning towards Russian operas…

That London was a great Wotan is very obvious, even more so in the concluding farewell, where his sensitiveness and beauty of tone is striking. One rarely hears such legato singing in Wagner.

London sings Prince Igor’s aria with great dignity and feeling but it is the three final items with Varnay that form the high point of this album, in that they contain both the greatest music and the finest partner.

The playing of the BRSO is fine throughout and all three conductors ensure idiomatic execution.

-- MusicWeb International

London’s voice was massive, focused and dark, with an exciting and secure top. In these recordings he never blusters, and he sings with verbal acuity, noble tone and dramatic verve…The remastered sound is excellent.

-- Opera Now

It’s good to see a dedicated London CD appear on Orfeo, which concludes with the closing sections of Die Walküre, where the great American bass-baritone is heard in duet with Varnay under the direction of Varnay’s husband, Hermann Weigert, who is especially sensitive with accompanying lower string lines near the start of Wotan’s Farewell. London’s deep rolling voice…makes a strong impression.

-- Gramophone

The familiar in a new guise – Tatjana Masurenko and the Yaruss Quartet are therefore in good company when they clothe the music of the Russian Romantics in novel acoustic garments. Using viola, soprano domra and alto domra, accordion and double bass, they play 19th century works in their own arrangements, using gut strings for all of their instruments, the domras sounding somewhat like Italian mandolins. In this guise, compositions by Rimsky-Korsakov, Musorgsky, Borodin and Glazunov seem lighter, more open and agile, their music expressing a fresh elegance with different colours, taking on a completely new character.

The preserved “miraculous harp:” 475 years of orchestra history – and a whole century is there to be listened to. This CD box is an invitation to a musical journey through time with one of the world’s best orchestras! Not only that, it is one of the world’s oldest, founded in 1548 and active without a break ever since. The former Hofkapelle, the court orchestra of Saxony, now proudly bears the name Sachsische Staatskapelle Dresden. “Kapellkonzerte“ since the beginning of sound recordings under conductors like: Fritz Busch, Richard Strauss, Karl Böhm, Joseph Keilberth, Kurt Sanderling, Otmar Suitner, Herbert Blomstedt, Giuseppe Sinopoli, Bernard Haitink, Fabio Luisi, Christian Thielemann and many more