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Orchestral Suites Rimsky-Korsakov rchestral uites Russian National Orchestra O Mikhail PletnevS Nikolai Rimsky-Korsakov (1844 – 1908) Suite from “Snow Maiden” 1 Introduction 3. 33 2 Dance of the Birds (Danse des oiseaux) 2. 51 3 Cortège 1.49 4 Dance of the Tumblers (Danse des Bouffons) 3. 30 Suite from “Legend of the Invisible City of Kitezh and the Maiden Fevroniya” 5 Prelude: A Hymn to Nature 4. 25 6 Wedding Procession – Tartar invasion 3. 15 7 Battle of Kershenets 4. 23 8 Death of Fevroniya 8. 22 Nuit sur le Mont Triglav (3rd Act of the Ballet Opera “Mlada”) 9 Introduction et Scene 1 8. 59 (Nuit sur le Mont Triglav et apparition des hombres) 10 Scene 2 (L’ombre de Mlada et Jaromir 2. 34 11 Scene 3 (Sabbat des esprits infernaux et Ronde infernale) 4. 09 12 Scene 4 (Apparition de la Reine Cléopâtre) 8. 19 13 Scene 5 (Matin) 3. 56 Russian National Orchestra conducted by Mikhail Pletnev Recording venue: MCO, Hilversum, The Netherlands, 1/2009 Executive Producers: Job Maarse Recording Producer: Wilhelm Hellweg Balance Engineer: Jean-Marie Geijsen Recording Engineer : Ientje Mooij; Leendert van Zanten Editing: Roger de Schot Total playing time:: 60.32 The Mightiest of the Five Korsakov a born symphonist from the start, promptly setting him the task of a etween 1860 and 1870, a group of com- symphony in E-flat minor, no less, which Bposers got together in St Petersburg proved quite a struggle for the novice. At under the leadership of Mili Balakirev. The that point, Balakirev could not have imag- “Mighty Five”, as they came to be known, ined that Rimsky-Korsakov would later aimed to create an independent, distinctly develop into one of the most prolific and Russian musical language. Michail Glinka probably also most influential composers was a major influence on the group, which of opera in Russian music history. Rimsky- consisted of amateurs with regard to com- Korsakov’s acceptance of a professorship in posing, and Nikolai Rimsky-Korsakov was practical composition and instrumentation the only member who was professionally in St Petersburg in 1871 marked the begin- active in music. Sent to naval cadet college ning of his emancipation from Balakirev and at the early age of 12 to pursue the tradi- his philosophy. Rimsky-Korsakov was now tional family career of a naval officer, that acquiring the technical foundations for his was where he received his first lessons in new profession, without which his operas music, became acquainted with the operas and also the sometimes drastic rewritings of Verdi, Glinka, Meyerbeer, Mozart and von of many works by colleagues of the Mighty Flotow, studied Beethoven’s piano sonatas Five would have been inconceivable. Eleven and made the acquaintance in 1861 of of his sixteen operas, incidentally, were not Mili Balakirev, who became his teacher. created until after Tchaikovsky’s death in Balakirev’s lessons and views influenced 1891. Rimsky-Korsakov deeply. Balakirev strongly After The Maid of Pskow and May Night, eschewed Western music, and any academic Rimsky-Korsakov composed the first version syntax for that matter; he was convinced of his opera Snow Maiden in 1880/81. These that it would be possible to write great were early works in pursuit of self-discovery, works without any technical qualifications. according to Dorothea Redepenning. The And thus he set his pupils loose right away opera, to a text by Alexander Ostrovsky, tells on major music forms such as symphony how the snow maiden, who is the daughter and opera. of winter and spring, finds human love and Balakirev recognized in Rimsky- perishes by the sun’s rays. Pagan gods of nature, fairytale and old Slavic themes are love in a heavenly world with a sunset and interlinked. The opera was not a tremen- a rainbow.” As with Snow Maiden, Rimsky- dous success as it was lacking in dramatic Korsakov arranged instrumental pieces power, but the orchestral suite consisting of into a suite. In 1899-1901, he composed an Introduction, Dance of the Birds, Cortège and orchestral version of the 3rd act of the opera Dance of the Clowns combines the beautiful entitled Night on Mount Triglav; in 1903 an and the grotesque, the magical and the pro- orchestral suite was created from the opera. saic, the sophisticated and the naive. The music undoubtedly carries echoes of After a near 10-year break from opera, Wagnerian music dramas, not so much in Rimsky-Korsakov composed the magical a motif-thematic sense as in the many har- opera-ballet Mlada in 1889/90. Originally monic changes and the instrumentation intended as a joint effort with comrades in (for example, brass movement and voice arms Cui, Borodin and Mussorgsky of the leading in Night on Mount Triglav and the Mighty Five, the collaborative work was appearance of the shadows, and interweav- not completed. With its representation of ing of strings in Morning Song with echoes conflicts between ordinary mortals and of Forest Weaving from Siegfried). ancient gods, Mlada links up with Snow The Legend of the Invisible City of Maiden. Like the preceding work, it received Kitesh and of the Virgin Fevronia is Rimsky- little success when performed, with the Korsakov’s fourth to last opera and was action being insufficiently plausible and written in 1903/04. The Libretto was the scenes enfolding with too little dra- written by Vladimir Belsky and based on matic effect. As Redepenning puts it, “We various sources. The work had its premiere have a witches’ sabbath in which the Slavic in St Petersburg in 1907, and the same year Black God Cernomor, the immortal Kashchei saw the creation of the orchestral suite and Cleopatra as a beautiful woman from with four movements which once again the underworld all make an appearance in shows Rimsky-Korsakov to be an excellent order to erase prince Jaromir’s memory of his instrumentator and a sensitive illustrator of murdered bride Mlada, before an earthquake natural events. The prologue starts mysti- and storm tides finally destroy the temple of cally, evoking a primal nature from which the pagan god Radegast, and the ghosts little birds successively emerge to speak. of Mlada and Jaromir are united in eternal The heroine Fevronia communes with the animals of the forest. She is chosen by appearing in Europe, Asia and the Americas. Prince Vsevolod to be his bride. Then the Guest artists performing with the RNO on Tartars attack the city of Lesser Kitesh, which tour include conductors Vladimir Jurowski, Rimsky-Korsakov vividly expresses with tem- Nicola Luisotti, Antonio Pappano, Alan pestuous brass movements and rhythmical Gilbert, Carlo Ponti and Patrick Summers, aggression. Fevronia manages to render and soloists Martha Argerich, Yefim the city of Greater Kitesh invisible through Bronfman, Lang Lang, Pinchas Zukerman, Sir prayer, thus saving it from destruction by James Galway, Joshua Bell, Itzhak Perlman, the Tartars. She enters eternal life with the Steven Isserlis, Dmitri Hvorostovsky, Simone dying Vsevolod, and the couple celebrate Kermes and Renée Fleming, among many their wedding in the invisible city. others. Popular with radio audiences world- wide, RNO concerts are regularly aired by Franz Steiger National Public Radio in the United States and by the European Broadcasting Union. Gramophone magazine called the first RNO CD (1991) “an awe-inspiring experi- Russian National Orchestra ence; should human beings be able to play he Russian National Orchestra has been like this?” and listed it as the best recording Tin demand throughout the music world of Tchaikovsky’s Pathétique in history. Since ever since its 1990 Moscow premiere. Of the then, the orchestra has made more than orchestra’s 1996 debut at the BBC Proms in 60 recordings for Deutsche Grammophon London, the Evening Standard wrote, “They and PentaTone Classics, distinguishing the played with such captivating beauty that the RNO as the only Russian ensemble with audience gave an involuntary sigh of plea- long-standing relationships with these sure.” More recently, they were described prestigious labels, as well as additional as “a living symbol of the best in Russian art” discs with many other record companies. (Miami Herald) and “as close to perfect as one Conductors represented in the RNO discog- could hope for” (Trinity Mirror). raphy include Founder and Music Director The first Russian orchestra to perform Mikhail Pletnev, Principal Guest Conductor at the Vatican and in Israel, the RNO main- Vladimir Jurowski, Kent Nagano, Alexander tains an active international tour schedule, Vedernikov and Paavo Berglund. The RNO’s recording of Prokofiev’s structure, the Russian Federation recently Peter and the Wolf and Beintus’s Wolf Tracks, awarded the RNO the first ever grant to a conducted by Kent Nagano and narrated non-government orchestra. by Sophia Loren, Bill Clinton and Mikhail Gorbachev, received a 2004 Grammy Award, making the RNO the first Russian orchestra Mikhail Pletnev to win the recording industry’s highest ikhail Pletnev was born in Archangel honor. A Spanish language version nar- Min 1957. After his studies at the rated by Antonio Banderas was released in Central Special Music School, he entered 2007, following a Russian version narrated the Moscow Tchaikovsky Conservatory in by actors Oleg Tabakov and Sergei Bezrukov, 1974, where he studied with Jakob Flier with Mandarin and other editions to follow. and Lev Vlasenko. Aged only 21, Pletnev The orchestra’s Shostakovich cycle on was the Gold Medal and First Prize win- PentaTone Classics is widely acclaimed as ner of the 1978 Tchaikovsky International “the most exciting cycle of the Shostakovich Piano Competition in Moscow. This prize symphonies to be put down on disc, and earned him early international recogni- easily the best recorded.” (SACD.net) tion.
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