1. In A Mountain Pass/In The Village/In The Mosque/Procession Of The Sardar - Christopher Lyndon Gee
2. Introduction/Lamentation Of Princess Ketevana/Berceuse/Lesghinka/Caucasian War March - Christopher Lyndon Gee
3. Caucasian Sketches, Ste No.1, Op10: In the Mosque
4. Caucasian Sketches, Ste No.1, Op10: Procession of the Sardar
5. Caucasian Sketches, Ste No.2, Op.42 'Iveria': Intro-Lamentation of Princess Ketevana
6. Caucasian Sketches, Ste No.2, Op.42 'Iveria': Berceuse
7. Caucasian Sketches, Ste No.2, Op.42 'Iveria': Lesghinka
8. Caucasian Sketches, Ste No.2, Op.42 'Iveria': Caucasian War March

Sydney Symphony Orchestra
Christopher Lyndon Gee – conductor

Ippolitov-Ivanov is far from being the only composer in musical history to remembered almost entirely on the basis of just one of his many works. Nevertheless, on those very few occasions that Ippolitov-Ivanov's name is mentioned at all, it is almost invariably in connection with his Caucasian Sketches (1894); even then, a lone movement, the glittering festive tableau "Procession of the Sardar," is often singled out.

A student of Rimsky-Korsakov, whose distinctive flair for exotic orchestration he inherited, Ippolitov-Ivanov graduated from the St. Petersburg Conservatory in 1882, quickly securing the directorship of the orchestra and conservatory of Tbilisi (Tiflis), the Georgian capital. During the seven years he spent in this remote mountainous region, Ippolitov-Ivanov undertook a detailed study of indigenous Georgian folk music, whose distinctive melodies and sonorities, now decked out in extravagant orchestral colors, are a central presence in Caucasian Sketches. The four movements -- "In a Mountain Pass," "In a Village," "In a Mosque," and "Procession of the Sardar" -- require little explanation, and Rimsky-Korsakov himself would hardly have disapproved their decorous orchestration. Although it is virtually unknown and almost never heard in the concert hall, Ippolitov-Ivanov further explored Georgian themes in a second Caucasian suite, subtitled "Iveria," published in 1896. This work was completed after the composer had returned to Moscow; though entirely characteristic, it lacks the populist feel of the Caucasian Sketches. ---Rovi

download: uploaded yandex 4shared mediafire solidfiles mega filecloudio nornar ziddu

back

Symphony No. 1 In E Minor, Op. 46
A1 	Adagio - Allegro Risoluto 	
A2 	Scherzo: Allegro 	
A3 	Elegia: Larghetto 	
B1 	Finale: Allegro Moderato 

Turkish Fragments, Op. 62
B2 	Caravan 	
B3 	At Rest 	
B4 	Night 	
B5 	Festival 	

Turkish March, Op. 55
B6 	Turkish March

Singapore Symphony Orchestra
Choo Hoey – conductor

Mikhail Ippolitov-Ivanov falls firmly into the category of what are generally described as ‘one-work’ composers, one of a surprisingly large contingent whose whole output is represented by a single popular work which comprehensively puts everything else they wrote into shadow. In his case that is one movement from his first suite of Caucasian Sketches, the Procession of the Sardar which leads a life as an independent piece hovering on the fringes of the general repertoire. He is also marginally remembered for his re-orchestration of the St Basil scene in Mussorgsky’s Boris Godunov, a re-working of the original in the style of Rimsky-Korsakov. This was intended to form part of the performing edition prepared by the latter for use in opera houses which at the time neglected what was then regarded as the ‘problems’ of Mussorgsky’s original. It can still be heard in Karajan’s Decca set of the opera, as well as in Bolshoi video and audio representations. All of this has led to Ippolitov-Ivanov being categorised as a sort of ‘picture-postcard’ composer, writing in the vein of ‘Soviet realism’ as espoused by Stalin; although, as a glance at his dates will show, he was active in this style long before it received the official approval of the Bolsheviks.

This is not really the whole picture. Ippolitov-Ivanov had a solid compositional grounding as a pupil of Rimsky-Korsakov, and in his youth was a friend of both Tchaikovsky and Taneiev. His settings of Russian orthodox liturgy, following in the footsteps of Tchaikovsky, parallel the choral writing of Rachmaninov’s Vespers (they can be heard on a deleted Warner Apex release originally issued on Sony St Petersburg Classics). By and large his representation in the current catalogues is limited to the Procession of the Sardar or the complete suite of Caucasian Sketches from which that movement is drawn, comprising well over half of the available recordings of his music. Thirty years ago the enterprising Marco Polo label attempted to address the neglect of his other works with this release, now reissued on their sister label Naxos, and the results were surprisingly interesting. The First Symphony comes from the Tsarist period, premièred in Moscow in the year of Rimsky-Korsakov’s death; the other two works here come from the early Stalinist era and are more predictably picturesque in the manner of the ubiquitous Sardar.

Indeed the First Symphony is a thoroughly conventional piece of symphonic writing, with plenty of atmospheric Russian touches to enliven the scoring. Although it is described as “Symphony No 1” the composer never in fact wrote a second. Its musical content is tuneful, if never with quite the catchiness of the Sardar written fourteen years earlier, and there is much to enjoy here – as indeed there is in the ‘Turkish’ works written more than twenty years later. Ippolitov-Ivanov spent much of his life in Georgia, and his interest in the oriental style of native music in the region of the Caucasus is clearly demonstrated in the melodic turns of his writing, although it is clear that his general idiom changed relatively little over the years.

It has to be said, though, that the Singapore Symphony Orchestra at the time of this recording was not the crack ensemble that it has subsequently become. The string tone here is at times thin, and the playing is not entirely assured in music that requires considerable panache, virtuosity and agility. Naxos themselves have subsequently made a new recording of the two Turkish works with the Ukrainian National Symphony Orchestra under Arthur Fagen; perhaps more appropriately coupled with both the Caucasian suites, and making a more substantial programme. There is also another recording of the symphony by Gary Brain and the Bamberg Symphony Orchestra, originally issued on Conifer and now available from Archiv, which was reviewed with some enthusiasm by Rob Barnett. The latter expressed a wish to hear some of the composer’s operas, and in particular The last barricade based on the historical subject of the Paris Commune of 1871, but unless Melodiya hold a recording in their archives I don’t suppose we need to hold our breath. ASV had a generously timed disc of this composer's orchetsral music which has just returned to circulation courtesy of Presto Classics.

As recordings of this music go - and that isn’t very far at all - Hoey’s pioneering performances are probably better served by the alternative versions in the catalogue; but purchase of those will involve the listener in a duplication of one movement from the second suite of Caucasian Sketches. Those who enjoy the music of Ippolitov-Ivanov (and it is very enjoyable) will not object to this. Those who wish to dip their toes in the water first will find this unique coupling of works a worthwhile investment. The recording is fine, if not outstanding, in its treatment of a large romantic orchestra; and the performances, if not the last word in sophistication, give a good impression of the music. --- Paul Corfield Godfrey, musicweb-international.com

download (mp3 @320 kbs):

yandex 4shared mega mediafire uloz.to cloudmailru gett

back

Liturgy Of St.John Chrysostom, Op.37

01. Psalm - Bless The Lord, O My Soul 2:03
02. Gloria - The Only-Begotten Son 1:40   
03. In Thy Kingdom Remember Us - Blessed Are 3:56   
04. Come Let Us Worship 2:46
05. Song Of The Cherubim 4:03
06. Credo 2:51   
07. It Is Meet And Right 0:37 
08. Sanctus 0:50  
09. We Hymn Thee, We Bless Thee 1:55   
10. Meet It Is, In Truth, To Bless Thee 2:17   
11. Our Father (The Lord's Prayer) 1:20   
12. The Communion - My Heart Rejoices In The Lord 3:14   
13. Blessed Is He That Comth - We Have Seen The True Light 0:43   
14. Let Our Mouths Be Filled With Thy Praise 1:00  

Vespers, Op.43

1. Psalm- Bless The Lord, O My Soul 3:23   
2. Psalm- Lord, I Cry Unto Thee 3:05   
3. O Gentle Light Of Holy Glory 3:09   
4. Hail To Thee, Mother Of God 2:10   
5. From My Youth 1:05  
6. Having Beheld The Resurrection Of Christ 2:04   
7. Holy Is The Lord, Our God 0:28   
8. Greater Doxology- Glory To God In The Highest 7:47  
9. To Thee, The Champion Leader 1:06

Chamber Choir 'Lege Artis'
Boris Abalyan – choir master

The contribution to the great Russian romantic choral tradition has had something of a revival the last 20 years. Rachmaninov's masterpieces are of course well known, but figures like Grechaninov are also getting their due. Few, I suspect, will be familiar with the choral works of Mikhail Ippolitov-Ivanov (1859-1935), known primarily for some colorful orchestral works, however. But like Grechaninov Ippolitov-Ivanov wrote quite a deal of it. The two works presented here are probably his main contributions to the genre, the Vespers op.43 and the Liturgy of St. John Chrysostom - the same as Rachmaninov, though the latter's are somewhat more expansive. Given this apparent reappraisal of his music, could we ask for one of Ippolitov-Ivanov's six extant operas as well, I wonder?

Both works here are pretty solemn and introspective overall (though there are some more joyful parts in the Vespers). The harmonic language is relatively uncomplicated, but the composer achieves some relatively beautiful effects. That said, there is nothing here that can achieve anything of the profundity and impact of the Rachmaninov works (nor of Grechaninov's best). Ippolitov-Ivanov seems to attempt to capture something very ethereal, but ends up being more picturesque (and, well, plain) than subtle. Still, for those interested in this kind of repertoire it is certainly worth hearing. I have few complaints about the performances - the 30 members of the chamber choir Lege Artis do a fine job of both works and Boris Abalyan seems to have a firm understanding of both works. Not for everyone, perhaps, but worth considering. --- G.D., amazon.com

download:   uploaded ziddu 4shared gett mediafire mixturecloud

back

1	Jubilee March, Op. 67	5:56	

Caucasian Sketches, suite No 2, for orchestra, Op 42 'Iveriya'
2	Introduction: Lamentation Of The Princess Ketevana	7:37
3	Berceuse	3:30	 
4	Lezghinka Dance	4:19	
5	Georgian March	5:08	 

6	Mtsďri (Lermontov), for orchestra, Op. 54	19:45		
7	Armenian Rhapsody on National Themes, Op 48	6:55	
8	Asya, opera, Op. 30: I Wonder if it is Misfortune	4:04	 
9	Turkish March for orchestra, Op 55]	4:20	
 
Turkish Fragments for orchestra, Op 62
10	Die Karawane (The Caravan)	4:10	
11	Während Der Rast (During The Rest)	4:40	 
12	In Der Nacht (In The Night)	3:56	
13	Auf Dem Feste (at The Festival)	2:41

Hasmik Hatsagortsian - soprano
Vardouhi Khachatrian - mezzo-soprano
Armenian Philharmonic Orchestra
Loris Tjeknavorian – conductor

Mikhail Mikhaylovich Ippolitov-Ivanov (1859-1935) was a masterful purveyor of the musical picture-postcard. In this, he had much in common with his composition teacher, Rimsky-Korsakov. Like his mentor, Ivanov (he later added the "Ippolitov" to distinguish himself from a slightly older colleague with the same name) was a traveler. After leaving the St. Petersburg Conservatory, he took a post in the Caucasus. It was here that he was inspired to write his two sets of Caucasian Sketches, The first ends with "Procession of the Sardar," undoubtedly the composer's most famous work (and not included here). The second set is capped by a "Georgian March" which is hardly less catchy, although it is far more obscure. (The only thing wrong with it, perhaps, is its similarity to the theme from "Hogan's Heroes.")

The Armenian Rhapsody is based on authentic folk material collected by the Turkish-Armenian composer and ethnomusicologist Komitas Vardapet. Ippolitov-Ivanov makes atmospheric use of a solo violin in this seven-minute work, which is less flashy than some of his other ethnic extravaganzas.

The Turkish March and Turkish Fragments come from 1929 and 1930, respectively. Like the Caucasian Sketches, both seem to have been written to appeal to a broad audience. For music written at that time, it is very old-fashioned, but there's no denying that an expert melodist and orchestrator are at work here. Rimsky-Korsakov might have been a little jealous! The Turkish Fragments could achieve the popularity of "Procession of the Sardar" too, if given a chance.

(Perhaps now is a good time to mention that Ippolitov-Ivanov seemed to weather the Communist Revolution just fine. He ensured his welcome in the new regime with occasional pieces such as the Jubilee March named after Clement Voroshilov, a Ukrainian who modernized the Red Army. The march, which opens this CD, is jollier than one might expect for a display of military might.)

Mtsïri is the longest work on this CD. It is 20-minute tone poem that tells the story of a young lay brother who escapes his monastery and becomes lost in the forest. He meets a maiden and falls in love, and then is wounded by a tiger. He drags himself to a stream in hopes of reviving himself, but dies as he tells his story to a sympathetic monk. All this and more are depicted in the music, which is almost Lisztian. (Again, note that this work was composed as late as 1922.) Mtsïri reaches an emotional climax with a soprano solo – the song of a little fish who lives in the stream. The work has its longueurs, but it is worth waiting around for this inexpressibly limpid and lovely solo.

This CD also includes an aria from Assya, Ippolitov-Ivanov's third opera. I am astonished that this aria hasn't found its way to the West in more recordings. There's no doubt about it: Ippolitov-Ivanov wrote masterfully for the voice too.

Tjeknavorian's conducting, as always, has plenty of spirit and color. He is always more than dependable in this repertoire. Although his orchestra isn't the most refined and sumptuous, they play with character. "Character" also describes the voices of Khachatrian and Hatsagortsian. The latter has a wide vibrato that threatens to puncture the composer's pure-white vocal line, yet the sincerity of her singing (and Khachatrian's) is moving. Yes, I wish a first-class orchestra would record this music. Nevertheless, I can't help but be happy with Tjeknavorian and his happy Armenian band. The engineering, as is usual from this source, is excellent, and so are the booklet notes by Robert Matthew-Walker. --- classical.net

download:   uploaded anonfiles mega 4shared mixturecloud yandex mediafire ziddu

back