KHACHATURIAN, A.I.: Gayane Suites Nos. 1-3

Mieczyslaw Weinberg’s Eighteenth Symphony is the centerpiece of his symphonic trilogy On the Threshold of War, focusing on the traumas of the Soviet Union in World War II and stands as one of the most significant creations of his later years. Using texts by important Soviet poets, the work reflects on war with eloquent expressive power. The Trumpet Concerto is amongst Weinberg’s most substantial and diverse works from the 1960s. Ranging in effects from pointillist modernism to the grotesque and sardonic, Shostakovich described it as a “symphony for trumpet and orchestra.”

"[The 18th Symphony] is a complex work in every way worthy of the later Weinberg and his blossoming during the thaw. These are excellently solid performances of works well worth having. Lande and the amassed choral and instrumental forces give us a performance worthy of the brilliance of the music. Very recommended. Weinberg!" -- Gapplegate Classical-Modern Music Review [6/2014]

“The present performance boasts a compelling contribution from Andrew Balio, who revels in the witticism of the Finale while also encapsulating the darker undertones of the wistful central movement. The St Petersburg State Symphony offers strong support.” -- BBC Music Magazine [7/2014]

WEINBERG Symphony No. 12. The Golden Key: Ballet Suite No. 4 • Vladimir Lande, cond; St. Petersburg St SO • NAXOS 8.573085 (75: 40)


I have been at least mildly enthusiastic about Lande’s previous Weinberg discs for Naxos (Symphony No. 6 on 8.572779 and Symphony No. 19 on 8.572752) and this one is as good, if not better. This is not the first recording of Weinberg’s Symphony No. 12—Maxim Shostakovich had that privilege—but it appears to be the only one available on CD, and the coupling, which is very different in tone, and a nice complement to the symphony, is as enjoyable as it is generous.


Weinberg’s Symphony No. 12 “In Memoriam D. Shostakovich” was composed in 1976, a year after Shostakovich’s death. Many of Weinberg’s works are stylistically similar to Shostakovich’s. This is not surprising, as Shostakovich was a friend and mentor to Weinberg, almost from the time that the latter arrived in the Soviet Union after fleeing his native Poland. This symphony is particularly Shostakovich-like. Although it is “in memoriam,” it is not funereal in tone. In fact, like many of Shostakovich’s works, it displays an emotional ambiguity that encourages a number of interpretations from performers and from listeners alike. Shostakovich’s “Leningrad” Symphony appears to have been an especially strong source of inspiration, but the work’s structure—for example, the epic first movement—is more reminiscent of Shostakovich’s Symphony No. 10. The D-S-C-H (D-E?-C-B) monogram even makes several subtle appearances. The symphony’s themes are distinctive, and Weinberg is a surefooted musical architect. Another similarity with Shostakovich is his ear for unusual scoring, and his always interesting and sometimes grotesque use of wind instruments at the extremes of their register. No one hearing this symphony for the first time will miss its connections with Shostakovich. Weinberg is not an imitator, however, any more than Telemann imitated Bach.


The Golden Key is a ballet from 1955 based on a story by Aleksey Tolstoy. The lead character, Burattino, is a puppet, and the eponymous golden key allows its bearer to enter the country of Happiness. In addition to puppets, there are various animal characters as well. On one level, this is an innocent ballet—even a children’s ballet—but its themes of rebellion and idealism also suggest a deeper and even socio-political interpretation. Shostakovich’s ballet scores have their moments of excellence as well as moments of more workmanlike writing. The Golden Key , from what I have heard of it, is at least on their level. The first three suites were recorded by Mark Ermler with the Bolshoi Theater Orchestra—Olympia OCD 473, if you can find it. That disc also included excerpts from the Fourth Suite. In other words, all four suites have been recorded. Taken together, they add up to about 85 minutes of music, so I am wondering if all of the ballet’s music was used in one of the four suites.


As on the previous CDs, Lande and the St. Petersburg Symphony Orchestra are very satisfactory. Certainly one can imagine more assertive conducting and a richer sounding orchestra, but I don’t think anyone will be unhappy with these performances. In fact, I would say that this is an improvement from the earlier recordings, particularly that of the Symphony No. 6, but that’s one Weinberg symphony in which there was more competition. If you’re interested in Shostakovich, or in music from the Soviet Union in general, there is absolutely no reason not to give this fine new CD a try.


FANFARE: Raymond Tuttle

RIMSKY-KORSAKOV: Symphony No. 3 / Sinfonietta Op. 31

Now celebrating his twentieth year of distinguished operatic achievements, this collection of arias from mostly “Verismo” operas features tenor Marcelo Alvarez delivering high-impact accounts of both popular and lesser-known selections by masters such as Puccini, Leoncavallo, Giordano, Mascagni and Massenet. + You will also hear – possibly for the first time – a fascinating array of choice rarities by Verismo-era composers (Gomes, Cilea, Zandonai, and Halévy) who were prominent in their day, but whose music has since fallen into comparative neglect. + Maestro Constantine Orbelian – leading the St. Petersburg State Symphony Orchestra – provides the necessary and important support. + “Marcelo Alvarez gave his usual passionate and thrilling performance ... taking advantage of his beautiful voice by phrasing the musical lines with elegance.” - Ingrid Haas

Dmitry Kouzov is one of his generation's leading cello virtuosos. From his earliest years Kouzov was surrounded by musicians with direct personal connections to Shostakovich, making the master's music an inseparable part of his musical being. That immersion, along with the partnership with the St. Petersburg State Symphony and Lande, make for an insightful and moving reading.

While greatly revered in Russia, the profound and beautiful music of neo-romantic composer Georgy Sviridov (1915-1998) is hardly known beyond his homeland's borders. His predominantly vocal output reflects his strong affinity for many of the finest Russian poets, who inspired him to compose highly idiomatic music to match the emotional intensity and expressive passion of their verses. Thus did Sergei Yesenin's vivid and moving poetry spark the creation of the stunning twelve-song cycle Russia Cast Adrift. Legendary baritone Dmitri Hvorostovsky developed especially strong personal and artistic bonds with Sviridov in the composer's final years, compelling Sviridov to composer specifically for him. Dmitri infuses Sviridov's songs with the same emotional intensity, musical insight and sheer vocal glory that have distinguished his many earlier Delos releases. Joining Dmitri in this world premiere recording of the orchestral version are his long-time collaborators Constantine Orbelian, conducting the St. Petersburg State Symphony Orchestra, and the Russian folk music ensemble Style of Five.

Arthur Gottschalk is recipient of a number of accolades, including the Charles Ives Prize of the American Academy of Arts and Letters, Special Distinction by the ASCAP Rudolph Nissim Award in 2009 for Requiem: For the Living, Gold and Silver Medals from the Global Music Awards, The American Prize in Composition in 2013 and 2014, annual awards from the American Society of Composers, Authors, and Publishers since 1980, and Arthur Gottschalk Day (October 16) from the City of Houston TX. Mr. Gottschalk has worked in diverse areas of music, including composing and arranging music for feature films, television scores, numerous industrial films and commercials, music publishing, and artist management. He continues to work as an expert in music copyright cases and as a forensic musicologist. Featured soloists on Requiem for the Living include tenor Alberto Mizrahi and Grammy-nominated soprano Lauren Snouffer. Vladimir Lande conducts the St. Petersburg State Symphony Orchestra and the St. Petersburg Chamber Choir.

Listen to the Naxos Podcast to learn more about this release

The composer's Russia Adrift is becoming something of a classic outside his native homeland. I was delighted to come across this recording of an arrangement for mezzo-soprano and orchestra; it's just as powerful as the original version. In addition, we have a beautiful three-movement 'small cantata' to words by Pasternak, Smeg idyot, from 1965, in which the choir's show their mettle, and from Music for Small Orchestra, from a year earlier, a work that undoubtedly has its own strength of character. This is an important addition to the ever-increasing Sviridov discography.

– Gramophone

This is the accomplished and stylish Russian debut of Tianwa Yang – one of the most unusual and energetic violinists of our time. To an enthusiastic audience within the walls of the beautiful Court Capella in St Petersburg, she performs the much-loved concertos of Tchaikovsky and Brahms with the St Petersburg State Symphony Orchestra under the sensitive direction of Vladimir Lande. The remarkable intensity of her playing is just as apparent in both her encore– Ysaÿe’s Violin Sonata No. 3 – and her separate performance of Bach’s solo Partita No. 2. Tianwa Yang has quickly established herself as a leading international performer and recording artist. She has recorded critically acclaimed interpretations of the complete music for violin andpiano, and for violin and orchestra, by Sarasate. Her recording of Mendelssohn’s two violin concertos (8572662) has won the highest praise.

KHACHATURIAN, A.I.: Spartacus, Suite No. 4 / Masquerade / Ci

Armenian composer Khachaturian (1903-1978) Ballet Music highlights recorded in 1993-1994 including Sabre Dance from Gayane, Spartacus & Masquerade performed by the St. Petersburg State Symphony Ochestra conducted by Andre Anichanov.