Septet, for oboe, bassoon, horn, 2 violins, cello & double bass in E flat major, G. iii3 (incomplete)
1. Adagio maestoso - Allegro moderato 8:19
2. Adagio non tanto 	5:00
3. Menuetto 	3:33
4. Rondo. Allegro 3:23
5. Serenata on themes from Anna Bolena, for piano, harp, bassoon, horn, viola, cello & double bass in E flat major, G. iv/suppl. 	20:09
6. Divertimento brillante on themes from Bellini's La Sonnambula, for piano, 2 violins, viola, cello & double bass, G. iv29 	13:21

Gran sestetto originale, for piano & string quintet in E flat major, G. iv81
7. 1. Allegro	12:00
8. 2. Andante - (attaca) / 3. Finale. Allegro con spirito	12:59

Artist:
Alexei Bruni  - Violin
Rustem Gabdullin - Double Bass
Nikolai Gorbunov - Double Bass
Andrei Kevorkov - Viola
Alexander Koreshkov - Oboe
Igor Makarow -	Horn
Mikhail Moshkunov - Violin
Leonid Ogrintchouk - Piano
Alexander Perogov - Bassoon
Mikhail Pletnev - Piano, Primary Artist
Erik Pozdeev - Cello
Natalia Tsekhovskaya – Harp

This CD presents one of the most beautiful chamber music of 19th century by great Russian composer Glinka. Heartfelt and fantastic melodies are intertwined with virtuosic passages by each and all of the performers. The piano parts in the grand sextet are simply out of this world. The performance by Alexander Pletnev is fabulous, once again proving his dexterity in performing Russian chamber music. I recommend this CD to anyone interested in good classical music. --- Abrams12, amazon.com

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Septet In E Flat Major For Oboe, Bassoon, Horn, Two Violins, Cello And Double Bass (1823) 	(20:11)
1 	I. Adagio Maestoso - Allegro Moderato 	8:19
2 	II. Adagio Non Tanto 	4:58
3 	III. Menuetto 	3:31
4 	IV. Rondo. Allegro 	3:19

Serenade On Themes From Donizetti's Opera 'Anna Bolena' For Piano, Harp, Bassoon, Horn, Viola, Cello And Double Bass (1832) 	(20:05)
5 	Largo (Introduction) - Cantabile Assai - Moderato - Larghetto - Presto - Andante Cantabile - Finale. Allegro Moderato 	

Divertimento Brilliante On Themes From Bellini's Opera 'La Sonnambula' For Piano, String Quartet And Double Bass (1832) 	(13:17)
6 	Larghetto - Allegretto - Vivace 	

Grand Sextet In E Flat Major For Piano, String Orchestra And Double Bass (1832) 	(25:00)
7 	I. Allegro 	11:59
8 	II. Andante - (Attacca) III. Finale. Allegro Con Spirito 	12:59

Bassoon – Alexander Petrov (tracks: 1-5)
Cello – Erik Pozdeev
Double Bass – Nikolai Gorbunov (tracks: 7-9), Rustem Gabdulin (tracks: 1-6)
Harp – Natalia Tsekhovskaya (tracks: 5)
Horn – Igor Makarov (tracks: 1-5)
Oboe – Alexander Koreshkov (tracks: 1-4)
Piano – Leonid Ogrinchuk (tracks: 5,6), Mikhail Pletnev (tracks: 7,8,9)
Viola – Andrei Kevorkov (tracks: 5,6-9)
Violin – Alexei Bruni, Mikhail Moshkunov (tracks: 1,3,4,6-9)

Mikhail Ivanovich Glinka: Grand Sextet in E flat major (1832). Born near Smolensk into the landowning class, Mikhail Ivanovich Glinka was in St Petersburg from 1817 to 1830, save for a visit to the Caucasus. He became a skilled singer and pianist, taking three lessons from John Field and impressing Hummel, whose piano-writing clearly influenced the Grand Sextet. With little formal grounding he wrote several songs and imitated Classical forms in a number of chamber works. In 1830 he travelled to Italy where he met Mendelssohn and Berlioz, Bellini and Donizetti. The last two influenced him strongly and he wrote a number of pot-pourris on themes from their operas to please the numerous ladies with whom he fell in love. He himself describes the circumstances surrounding the composition of the Grand Sextet in his Memoirs of 1854 – he was living near Lake Maggiore (for his continually troublesome health) when he became infatuated with his doctor’s married daughter, a highly cultured and beautiful woman who had entertained Chopin the year before:

I naturally visited de Filippi’s daughter frequently – the similarity of our upbringing and our passion for the same art could not but bring us together. Because of her interest in the piano I began for her a Sestetto Originale, but later on, having finished it in the autumn, I was compelled to dedicate it, not to her, but to a female friend of hers.

You see, I had to cease my frequent visits because they were exciting suspicion and gossip. De Filippi was not a little concerned at this, and in order to put a stop to the unhappy business a bit more smoothly, he purposely took me to see his daughter the last time; we rowed about Lake Maggiore for almost the entire day in rather unpleasant weather, which indeed more or less matched our low spirits.

This was to be one of his last ‘Italian’ works: ‘Longing for home led me, step by step, to think of composing like a Russian.’ The next year he headed north, to Vienna and Berlin, where he pursued his only systematic course of study, before returning to Russia in 1834. Two years later, A Life for the Tsar was performed to a rapturous reception, followed by Ruslan and Lyudmila; together they established a completely new Russian school.

The first movement of the Grand Sextet, Allegro, opens with a bold motto-theme in the piano, setting the tone for its dominant solo role throughout the work. A conventional structure in sonata form follows, with an elegant first subject and a suave second theme which first appears on the cello. The development is simple, but the recapitulation is unusual in that it brings the second theme back in the submediant (C major), a device which recurs in the finale.

The Andante is a delightful serenade in G major with a gypsy interlude on the violin for the middle section. It leads directly into the finale, Allegro con spirito, a vivacious movement, again in sonata form, with three main themes: the first is full of cross-accents and unexpected barring; the second has an unashamedly operatic accompaniment; and the third contains the only true ‘Russian’ touch in the work – an extended melody whose modal basis prevents it from settling in any one key. ---hyperion-records.co.uk

The manuscript to Mikhail Glinka's Septet composed in 1823 lay moldering away in the dusty archives of the Russian State Library until the centenary of the composer's death, when the well-known Russian composer Vissarion Shebalin produced a score from which a set of parts were created and published some years later. Like much of his early music, the Septet was written for a specific occasion of home music making on his parents country estate in the autumn of 1823. In later life, Glinka, like many other composers, attached little importance to the works of his youth, including this Septet, which no doubt explains why he did not take the trouble to publish it. However, the fact remains that it is one of the few works for septet in which the oboe takes a part, rather than the clarinet. And it is perhaps the only Russian septet from the first part of the 19th century. The work opens with a solemn Andante maestoso introduction. It immediately conjures up the era of the Vienna classics. The music of Haydn and Mozart and their contemporaries was just becoming known in Russian chamber music circles at that time and perhaps Glinka was familiar with the septets of Friedrich Witt or Conradin Kreutzer or Beethoven’s Op.20 Septet in the same key. The main part of the first movement, Allegro moderato, could well have been written by one of those Viennese composers although it has some chromaticism that one does not find in their works. The second movement, Adagio non tanto, is a set of variations based on a Russian folk melody. Next comes an elegant Mozartean Menuetto with telling use of pizzicato in the strings as an accompaniment. The toe tapping finale, Rondo, allegro, is a lively affair full of appealing melodies. ---editionsilvertrust.com

Deeply under the spell of Donizetti’s operas, Glinka was a frequent guest at the home of the Branca family. Judge Branca had two musically gifted daughters, playing piano and harp, respectively. To show his appreciation, Glinka put together a Serenade on operatic themes from Anna Bolena. Making sure that both daughters musically participated, he cast the work in 7 movements, and scored it for piano, harp, viola, cello, bassoon, and horn. Once printed by Ricordi, it became a huge commercial success, and the publishing house asked Glinka for another composition like it. Eventually, Glinka also added a set of solo piano “Variations brillantes on a Theme from Anna Bolena” to Ricordi’s catalogue. ---interlude.hk

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1. Symphony On Two Russian Themes (Edition by V. Shebalin)

2. Jota Aragonesa (Spanish Overture No.1)

3. Summer Night in Madrid (Fantasia on Spanish Themes Spanish Overture No.2)

4. Waltz-Fantasia

Incidental Music to N. Kukolnik’s Tragedy "Prince Kholmsky"
5. Overture
6. Entr’acte to Act II
7. Entr’acte to Act III
8. Entr’acte to Act IV
9. Entr’acte to Act V

10. Premiere Polka in B flat Major (Instrumentation by M. Balakirev)

The USSR Symphony Orchestra
Conductor Evgeni SVETLANOV

Recorded in 1984 (1,5), 1967 (2-4), 1990 (6)

Mikhail Glinka was born on June 1 (o.s. May 20), 1804 in the village of Novospasskoye in the province of Smolensk. He started to learn to play the piano and the violin at the age of 10, his teacher was Varvara Klammer, a governess invited from Saint Petersburg. In 1817 he is dispatched to a school for the children of the nobility at the Saint Petersburg University. There he makes first attempts at composing when in 1822 he writes variations for harp or piano based on a theme from the Weigl’s opera “Die Schweizer Familie”.  After leaving school he engages himself totally in music focusing on composition, he writes songs and romances, setting to music verses of contemporary poets.

Composing becomes Glinka’s priority in life. He constantly strives for perfection. In 1830 he leaves for Italy where he writes music permeated with Italian tradition, studies bel canto, meets famous composers. He forms his style and his works acquire confidence and originality. After three years in Italy Glinka visits Berlin where he studies composition and instrumentation under Siegfried Dehn. When news of his father’s death reaches him in 1834, he immediately leaves for Russia.

In the spring of 1835 Glinka marries Maria Ivanova and moves to Novospasskoye. Glinka had returned home from Europe possessed with the idea of creating a national Russian opera. In the calm of his home he embarks on the project. The effort materialized in the opera “A Life for the Tsar” which premiered on November 27, 1839, at the Saint-Petersburg Bolshoi Theatre and was a staggering success. The following two years Glinka works as choirmaster to the Imperial Chapel. His second opera “Ruslan and Lyudmila” was presented to the public exactly six years after the premier of “Ivan Susanin”. This time it was coolly received. In 1844 Glinka leaves for Paris.

There he befriends Berlioz who in the spring of 1845 conducts some excerpts from Glinka’s operas “Ruslan and Lyudmila” and “Ivan Susanin”. Inspired by the event Glinka resolves to give a charity concert featuring his works and it is staged with a great success at the Herz concert hall.  In May Glinka visits Spain where he gets acquainted with the local culture and traditions and collects folk tunes.  The trip yielded the Spanish overture No. 1 “Jóta Aragonesa” and the orchestral “A Night in Madrid”. The latter is written after his return to Russia in 1848. He leaves for Warsaw the same year to start working on a new mode of Russian symphonic music.

In 1851 Glinka is back to Saint Petersburg but leaves for Europe only one year later again. While in Paris Glinka starts the “Taras Bulba” symphony, which remains unfinished, and leaves France due to the beginning of the Crimean war. In 1856 the composer is in Berlin again where he studies liturgical choral music.

Mikhail Glinka dies on 15 February, 1857, and is buried in Berlin, but a few months later his remains are taken to Russia and reinterred at the Tikhvin Cemetery in Saint Petersburg. --- musicaneo.com

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01. Variations on Alyabyev’s Song “The Nightingale” in E minor, 1833 (8:28)
02. Mazurka in C minor, 1843(?) (1:55)
03. Mazurka in F major, 1833 or 1834 (1:11)
04. Farewell Waltz in G major, 1831 (1:08)
05. Barcarolle in G major, 1847 ”Ah,se to fossi meco Sulla barchetta bruna.” Felice Romani (6:02)
06. Mazurka in C major, 1852 (0:49)
07. Mazurka in F major, 1835 (?) (2:45)
08. Waltz in E flat major, 1838 (2:36)
09. Variations on a Theme from Mozart’s opera “Die Zauberflote” in E flat major, 1822 (8:55)
10. Tarantella on a Russian Folk Song “In the Field There Stood a Birch Tree”, 1843 (1:05)
11. Remeniscence about Mazurka , 1847 “Sans illusions‐adieu la vie!” Métastase (3:51)
12. Nocturne in E flat major, 1828 (4:43)
13. Polka in D minor, 1849 (0:50)
14. Nocturne in F minor “La Séparation”, 1839 (3:45)
15. Variations on a Russian Folk Song “Among the Gentle Valley” in A minor, 1826 (4:27)

Tatiana Loguinova – piano

Despite spending a total of 23 years in Europe where he absorbed many influences and wrote most of his compositions Glinka is credited with being “the father of Russian music”.

In the realm of piano music he created the Russian piano miniature and at one time in his early musical education had some lessons from John Field, the inventor of the nocturne. His piano music though small in output is fresh, charming and elegant. Many of the pieces on this disc are inspired by dance as in the mazurkas, waltzes and the polka. He also enjoyed composing variations such as those on a theme from Mozart’s Magic Flute which is particularly affecting, as well as those on Russian folk songs. His tarantella on the Russian favourite “In the field there stood a birch tree” (Beryoshka) is especially successful. In addition both of the nocturnes presented here show that the time spent with Field was extremely fruitful.

This disc is the first time these works have been performed on the pianoforte and since the disc’s title is Treasures for the Pianoforte, implying that they were written for it, it is strange that they have waited so long to be performed on the instrument. Listening to them on the pianoforte has been a journey of rediscovery for me as I had not been much impressed by them on the modern piano. This recording has breathed new life into them and has emphasised their sparkling quality.

The recording is crisp and Tatiana Loguinova’s playing is thoughtful and perfectly showcases these charming and delightful pieces. ---Steve Arloff, musicweb-international.com

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1. Overture
2. Act I. V Sele Domnino
3. Act II. Bal U Korolia Sigizmunda
4. Act III. V Izbe U Susanina
5. Act IV. U Posada - V Lesu
6. Epilogue. Na Krasnoy Ploschadi V Moskve


Ivan Susanin - Ivan Petrov
Antonida - Vera Firsova
Bogdan Sobinin - N Gries
Vanya - Valentina Klepatskaya
Russian soldier - M Mishutin
Polish messenger - Vlasimir Valaitis

Chorus and Orchestra of The Bolshoi Theater
Boris Khaikin – conductor

Mikhail Glinka, the founder of the Russian nationalist school of opera, was the first Russian composer to have his works accepted outside Russia itself. Berlioz admired his compositions and Liszt used them as the basis for several of his piano transcriptions. The son of a wealthy landowner, he was educated in St Petersburg, where he took piano lessons from John Field, and also studied the violin and music theory. In addition his uncle ran an orchestra manned by serfs and this made a great impression upon him. To satisfy his father he worked within the Ministry of Communications from 1824 to 1828, but not having to earn a living, and keen to devote himself to music, he gave up this employment. During this period he also served an apprenticeship with an opera company and as a result came into contact with the operas of Rossini. He travelled within Western Europe between 1830 and 1833, and continued to study music, receiving tuition in Milan, where he met both Bellini and Donizetti, and Berlin. Following the death of his father he returned to Russia, settled in St Petersburg, and married in 1835. By now he was a professional and cosmopolitan musician, familiar with the music of contemporaries such as Grétry, Méhul, and Cherubini as well as Beethoven. Ivan Susanin or A Life for the Tsar, a landmark in the history of Russian opera, was produced in 1836 and was an immediate success with its winning combination of a patriotic plot and nationalist music. Domestic problems, leading eventually to his separation from his wife in 1841, delayed the production of his second opera, Ruslan and Ludmilla, which finally appeared in 1842. Glinka then returned to travelling: he visited France and Spain in 1844, Poland in 1848, and France once more between 1852 and 1854. He died while on a visit to Berlin.

The title of Ivan Susanin was changed to A Life for the Tsar before the opera’s first performance, with the Tsar himself accepting Glinka’s dedication in return for this adjustment. The original title was restored when the work was revived at Moscow’s Bolshoy Theatre in 1939, in a version which eliminated all mention of the Romanov dynasty. Following the collapse of the Communist government in 1989 the original libretto has been restored to general circulation. By effectively laying the foundations of the Russian nationalist school of opera, this magnificent work has great historical significance, in addition to being a fine composition in its own right. The setting is Russia in 1613. Following the death of Boris Godunov, Russia is subject to attacks from marauding Poles. The daughter of the peasant Ivan Susanin, Antonida, is in love with Sobinin, but her father will not allow them to marry until a new Tsar is safely on the throne, despite reassurances from Sobinin that the young Tsar, Mikhail Romanov, has already been popularly elected. Ivan Susanin’s adopted orphan, Vanya, fears that the invading Poles will soon arrive in their search for the new Tsar, who is studying in a monastery, but Susanin assures him that none will betray the young Romanov. Following the arrival of the Poles, Ivan Susanin is forced to take them to their prey, but instead he leads them into the forest, while Sobinin leads a group of men to warn the Tsar of the dangers awaiting him, thus enabling him to escape capture. When the Poles learn what Ivan has done they kill him, but the Tsar, and so Russia, is safe. An epilogue celebrates the coronation of the Tsar as well as the sacrifice of Ivan Susanin. ---David Patmore, naxos.com

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Disc: 1
1. Ruslan And Lyudmila: Overture
2. Ruslan And Lyudmila: Act One: No. 1 Introduction: 'Dela davno minuvsikh' (Chorus, Bayan, Farlaf, Ratmir, Svetozar, Rusland, Luydmila)
3. Ruslan And Lyudmila: Act One: Est' pustnnyi kraj (Bayan, Chorus)
4. Ruslan And Lyudmila: Act One: No. 2 Lyudmila's Cavatina: 'Grustno mne,k roditel' dorogoi!' (Lyudmila, Chorus)
5. Ruslan And Lyudmila: Act One: No. 3 Finale: 'Chada rodimye!' (Chorus, Ruslan, Ratmir, Farlaf, Svetozar)
6. Ruslan And Lyudmila: Act One: Chto sluchios: (Chorus, Ruslan, Ratmir, Farlaf, Svetozar)
7. Ruslan And Lyudmila: Act Two: No. 4 Entr'acte
8. Ruslan And Lyudmila: Act Two: No. 5 Finn's Ballad: Dobro pozhalovat', moi syn! (Finn, Ruslan)
9. Ruslan And Lyudmila: Act Two: No. 6 Duet Of Finn And Ruslan: Blagodaryu tebya, moi divnyi (Ruslan, Finn)
10. Ruslan And Lyudmila: Act Two: No.7 Scene And Farlaf's Rondo: Ya ves' drozhu' (Farlaf, Naina)
11. Ruslan And Lyudmila: Act Two: (Rondo) Blizok uz chas torzhestva moego (Farlaf)

Disc: 2
1. Ruslan and Lydumila: Act Two: No. 8 Aria: O pole, pole! (Ruslan)
2. Ruslan and Lydumila: Act Two: Dai, Perun, bulatnyi mech: (Ruslan)
3. Ruslan and Lydumila: Act Two: No. 9 Scene With The Head: 'Kto zdes' bluzhdaet' (The Head, Ruslan)
4. Ruslan and Lydumila: Act Two: No. 10 Finale: The Tale Of The Head: 'Nas bylo dvoe, brat moi ya' (The Head, Ruslan)
5. Ruslan and Lydumila: Act Three: No. 11 Entr'acte
6. Ruslan and Lydumila: Act Three: No. 12 Persian Chorus: 'Lozhitsya v pole mrak' (Chorus, Naina)
7. Ruslan and Lydumila: Act Three: No. 13 Gorislava's Scene And Cavatina: 'Kakie sladostnye zvuki' (Gorislava)
8. Ruslan and Lydumila: Act Three: No. 14 Ratmir's Aria: 'I zhar, i znoi smenila nochi ten' (Ratmir)
9. Ruslan and Lydumila: Act Three: No. 15 Dances
10. Ruslan and Lydumila: Act Three: No. 16 Finale: 'O moi Ratmir! Ty zdes' opyat' (Gorislava, Ratmir, Chorus, Ruslan)
11. Ruslan and Lydumila: Act Three: Vityazi! Kovarnaya Naina: (Finn, Gorislava, Ratmir, Ruslan)

Disc: 3
1. Ruslan And Lyudmila: Act Four: No. 17 Entr'acte
2. Ruslan And Lyudmila: Act Four: No. 18 Scene And Aria: 'Vdali ot milogo' (Lyudmila, Chorus)
3. Ruslan And Lyudmila: Act Four: Akh ty dolya, dolyushka: (Lyudmila, Chorus)
4. Ruslan And Lyudmila: Act Four: No. 19 March Of Chernomor
5. Ruslan And Lyudmila: Act Four: No. 20 Oriental Dances: Turkish Dance (Allegretto)
6. Ruslan And Lyudmila: Act Four: No. 20 Oriental Dances: Arabian Dance (Allegro con spirito)
7. Ruslan And Lyudmila: Act Four: No. 20 Oriental Dances: Lesginka
8. Ruslan And Lyudmila: Act Four: No. 21 Chorus: 'Pogibnet, nezhdannyj prishlets!' (Chorus)
9. Ruslan And Lyudmila: Act Four: No. 22 Finale: 'Pobeda, pobeda, Lyudmila' (Ruslan, Gorislava, Ratmir, Chorus)
10. Ruslan And Lyudmila: Act Five: No. 23 Entr'acte
11. Ruslan And Lyudmila: Act Five: No. 24 Ratmir's Romance: 'Ona mne zizn', ona mne radost!' (Ratmir)
12. Ruslan And Lyudmila: Act Five: No. 25 Recitative And Chorus: 'Vsyo tikho!' (Ratmir, Chorus)
13. Ruslan And Lyudmila: Act Five: No. 26 Duet Of Ratmir And Finn: 'Chto slyshu ya? Lyudmila net?' (Ratmir, Finn)
14. Ruslan And Lyudmila: Act Five: No. 27 Finale: 'Akh ty svet, Lyudmila!' (Chorus, Svetozar, Farlaf)
15. Ruslan And Lyudmila: Act Five: 'Kogo nam bogi shlyut?' (Chorus, Svetozar, Farlaf, Ruslan, Lyudmila, Ratmir)
16. Ruslan And Lyudmila: Act Five: 'Slava velikim bogam!' (Chorus, Lyudmila, Ratmir, Ruslan, svetozar, Gorislava) 

Lyudmila .............................. Anna Netrebko
Ruslan ................................. Vladmir Ognovienko
Svetosar ............................... Mikahil Kit
Ratmir.................................. Larissa Diadkova
Farlaf .................................. Gennady Bezzubenkov
Gorislava ............................... Galina Gorchakova
Finn ................................... Konstantin Pluzhnikov
Naina ................................. Irina Bogachova
Bayan .................................. Yuri Marusin

Valery Gergiev - Kirov Chorus and Orchestra, St. Petesburg

Let's start with the nitpicking here: this opera is not a particularly dynamic one in terms of setting and songs. It works basically by having one character doing his thing, leaving and another character doing his piece, sometimes for long periods of time. Even duets are a bit rare here, it works mainly as a succession of songs with little interactivity between the characters.

That being said the music is beautiful, really beautiful. The folk influences reveal an astounding depth of originality to the work and the birth of a whole new school of Russian music. In fact Glinka is the father of Russian music that will bring such joys to this list in the future. Much like Wagner creates the Teutonic music par excellence in Germany at this time so is Glinka doing the same for Russia.

The setting is an appropriately fairytaley pre-historic pagan Russia and there are giants, dwarves, sorcerers, witches, brave warriors and enchanted princesses. The whole thing has an air of the fantastic about it and the music is extremely evocative. The Russian obsession with "Orientalism" is already present in this work, the use of Eastern folk elements actually adds to the whole ambience of the album. A beautiful work and a majority important one. ---1001classical.blogspot.com

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Sergey Vasil'yevich Rachmaninov (1873 - 1943)

1.The Night Is Mournful (Noch pechal'na), Op.26, No.12	3:06
2.Oh, Do Not Sing To Me (Ne poy, krasavitsa, pri mne) Op.4, No.4	5:19
3.Music (Muzika), Op.34, No.8		3:28
4.Spring Waters (Vesenniye vodi), Op.14, No.11		1:59
5.Vocalise, Op.34, No.14		7:42

Michail Iwanowitsch Glinka (1804 - 1857)

6.Somneniye (Doubt)		4:44
7.I remember the wonderful moment [Ya pommyu chudnoye mgnovene] (A. Pushkin)3:26
8.Kak sladko s toboju mne byt' (How sweet to be with you)	3:21
9."K nej"	1:30
10.First Occur "Only I avowed you" (1835)	1:47
11.Venetian Night (1832)	2:11

Cycle "Farewell" (1840)
12.No.10 The Lark	3:28
13.No.8 Barcarole	2:42

Galina Vishnevskaya – soprano
Mstislav Rostropovich - piano

Don't start with the first track. You'll never make it through Night is mournful. And don't start with the second track, either. "Do not sing, my beauty" will kill you, kill you dead. Start with the fifth track. It's not that Vocalise is any less emotionally annihilating; it's that it at least has the virtue of not having words, so its meaning is less specific and more general. Or maybe that only makes it harder to take in the long run.

One thing is certain. Wherever you start it, this recital of songs by Rachmaninov and Glinka sung by soprano Galina Vishnevskaya accompanied by her husband Mstislav Rostropovich will prove to be one of the most profoundly moving vocal recordings you'll ever hear. Vishnevskaya was the epitome of the Russian soprano -- silken of technique, creamy of tone, and overwhelmingly passionate of interpretation -- and her choice of repertoire here is excellent. Glinka's songs were the first great Russian art songs and they're still deeply affecting in Vishnevskaya's fresh and natural performances. Rachmaninov's songs were among the last flowerings of the Russian art song and they're magnificently melancholy in Vishnevskaya's voluptuous and sensuous performances. Rostropovich, a great cellist, a decent conductor, and a capable pianist, supports his wife with affection and appreciation. This disc should be heard by everyone who loves great singing. Deutsche Grammophon's late stereo sound is deep, warm, and just about real. --- James Leonard, Rovi

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