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CYAN MAGENTA YELLOW BLACK 12pg BOOKLET FRONT
20th Century Russian Piano Music Vladimir Yurigin-Klevke, piano # b
o Sofia Gubaidulina (1931–) Rodion Shchedrin (1932–) J 1 Ciaconna (1961) (11:33) 24 Preludes and Fugues for Piano (1964-70) 12 No. 10 in C-Sharp Minor (5:54) Arvo Pärt (1935–) 13 No. 12 in G-Sharp Minor (4:02) Partita (1965) 2 Toccatino – Fughetta (2:06) Kara Karayev (1918–1982) 3 Larghetto – Ostinato (4:53) 24 Preludes for Piano (1951-61) 14 No. 1 in C Major (1:23) Dmitri Shostakovich (1906–1975) 15 No. 2 in C Minor (1:30) 24 Preludes, Op. 34 (1932-33) 16 No. 3 in G Major (0:55) 4 No. 1 in C Major (1:28) 17 No. 5 in D Major (1:34) 5 No. 2 in A Minor (0:58) 18 No. 6 in D Minor (1:00) 6 No. 3 in G Major (2:17) 19 No. 8 in A Minor (2:49) 7 No. 10 in C-Sharp Minor (1:59) 20 No. 10 in E Minor (1:21) 8 No. 14 in E-Flat Minor (2:25) 21 No. 15 in D-Flat Major (1:16) 9 No. 16 in B Minor (1:01) 22 No. 19 in E-Flat Major (2:31) 10 No. 17 in A-Flat Major (1:51) 23 No. 23 in F Major (1:17) 11 No. 24 in D Minor (1:15) TOTAL PLAYING TIME: 57:45
Recording producer & engineer: Tatiana Vinnitskaya Recorded in Studio 5, State Radio, Moscow, Russia Mastering: Oleg Ivanov 7 W 2011 Delos Productions, Inc., P.O. Box 343 Sonoma, CA 95476-9998 (707) 996-3844 • Fax (707) 320-0600 • (800) 364-0645 Disc Made in Canada • Assembled in USA www.delosmusic.com
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Sofia Gubaidulina was first tested in the cantatas written in the Ciaconna in B Minor, 1961 late 1960s — Night in Memphis and Rubayat. Also Available on Delos In the 1970s, the technique of musical devel- While women poets have been known since opment employing polar contrasts became a Russian Romances # ancient times, women composers have been permanent feature of Gubaidulina’s personal b
o a rarity in European culture up to the 20th style. This contrasting dramatic thinking thus Arax Davtian, soprano J century. The talent and professional mastery asserts a new and most significant stage in Vladimir Yurigin-Klevke, piano of Sofia Gubaidulina are undisputed; her the composer’s stylistic evolution. music has won renown in her own country Gubaidulina's creative works are in DRD 2007 (DDD) and internationally. Her works are notable many ways a reflection of the universal char- for a broad, sweeping, large-scale character; acter of the present-day creative process, an Music of her style is distinguished by a high artistic intensive interpenetration of various cultures temperament and will power. In her creative and, as a result, a clearly delineated aware- GLINKA career several periods can be singled out. The ness of typically national features in every DARGOMYZHSKIY earlier period is characterized by the devel- national art, and a striving to contribute the TCHAIKOVSKY opment of polyphonic technique and a skill wealth of one’s own national culture to RACHMANINOFF in building larger musical forms (“Ciaconna” world culture. Employed by Gubaidulina, for piano solo). Impulsive rhythms combined this tendency found its expression in a syn- “one of the most beautiful, honest and with a somewhat dry and hard texture thetic merging of several artistic notions touching recordings of these Russian became a hallmark of this composer’s per- characteristic of the East and the West. This musical gems” Constantine Orbelian sonal style. The creation of her individual merging melds together the dynamic charac- manner required an overcoming of tonal ter of musical development and the emotion- Arax Davtian (1949-2010), People’s Artist of Armenia, was often called Armenia’s asceticism and unfolding rich inner resources al and intellectual activity characteristic of of musical sound. Gubaidulina emerged as the West with an Eastern spontaneity, impro- greatest soprano. She recorded this choice collection for Russian Disc in 1994, at the one of those composers of the 1960s who visational basis, ability for self-development, urging of Constantine Orbelian, who conducted many performances and tours featur- made an energetic contribution in the renew- and a purely Eastern subtle, somewhat ing Arax with the Moscow Chamber Orchestra. Constantine writes in his memorial al of the “musical fabric,” saturating it with sophisticated coloristic timbre. In this very tribute to Arax that when he first heard her sing he was taken with “her crystal clear new fresh timbres, intonations, and methods profound and organic synthesis, the oriental voice, pinpoint intonation, beautiful phrasing and line,” and goes on to say that “Arax of instrumental playing. As the years passed, aspect loses its exotic tint to bring out a was blessed with the rarest of all gifts: truth and sincerity in art.” her music adopted one more dimension — philosophical background filled with deep that of expressing a struggle of contrasting psychological meaning. sources characteristic of the European classi- The oriental features, easily discernible in cal tradition. This type of musical structure Gubaidulina’s works, can be identified in the
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in a recording of Russian romances, origi- choice of thematic material, as in the cantatas them in the literature and art of various nally on Russian Disc and now available on — Night in Memphis, based on ancient countries and epochs, in ancient Egyptian Delos (DRD 2007). A highlight in his work Egyptian lyric poetry and Rubayat, based on poetry, in the verses of the 14th century with singers was his appearance with verse by oriental poets — Khayam, Khafiz, Persian poet Khafiz and in the works of the # Khakhani. It also prevails in the pieces for 17th century Czech thinker and humanist Jan b world-renowned tenor Nikolai Gedda in o
J 1994 in St. Petersburg. three-string dombras On Tatar Folklore, in the Amos Komensky. However, her music is liking for decorative-type melodics, and intro- directed to present-day reality and people. Vladimir’s extensive touring schedule has duction of oriental musical instruments alien The force of present-day life is presented as a extended to concerts and recitals internation- to the European tradition. Simultaneously, the novelty and a turn toward the future. Her ally, including Russia, Bulgaria, France, signs of Western culture are conspicuous as creative art is an accumulation of the most Germany, USA, Colombia, Costa Rica and well. Gubaidulina’s music is distinguished by important movements in the cultural devel- Spain. He has also been a regular participant the lyricism of her use of percussion, with the opment of the 20th century and presents a in international chamber music festivals. softest tones acquiring a special importance in highly interesting object for studying the Since 1994, he has collaborated with the well- the temple-blocks, and in its fine fragility — in multiple connections between an artist and known international charity program “New the piano strokes of the cymbals, the lyrical his epoch. Names,” which attracts the most talented dolce derived from the dance tambourine. children of Russia. The personality of a performer occupies Arvo Pärt — Partita a special place in Gubaidulina’s creative art. In the process of composition, she ori- In 1980, the composer left the USSR, and in ents herself towards a certain type of cre- conformity with the “tradition” of the time, ative individual, scrupulously examining his compositions were struck from the con- his personal manner of playing, the way he cert programs in his country and from musi- acts on the stage, his gestures and move- cological studies. Yet, in the West, where abroad, including the Royal Academy of ments. A portrait of the performer is Arvo Pärt settled after he left the USSR (first Music in London, and have themselves been embodied in nearly all of her works. in Vienna and then in Berlin) he is still con- active in piano competitions. Gubaidulina continuously cultivates the sidered a Soviet composer. non-tempered musical “space.” Glissando, Arvo Pärt’s creative potential manifested Also noteworthy is Vladimir’s work with such a favorite of hers, is nothing so much itself already during his years in the Tallinn singers, among them leading soloists of the as the cultivation of the new micro-interval Conservatory where he studied under Heino Bolshoi Theatre‚ such as soprano Bella sphere of later European harmony. Eller and from which he graduated in 1963. Rudenko, bass Alexander Vedernikov, and Gubaidulina is attracted by the eternal He earned his first public renown with his bass Arthur Eisen. He collaborated with the themes of art and human life, like good and piano compositions — two sonatinas and the late, great Armenian soprano Arax Davtian evil, life and death, moral duty. She finds Partita (1958-1959). They are neoclassical in
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style, revealing, however, some individual feature of Pärt’s creative aspirations — his established formula of utterance used to this repertoire continued to ripen as he per- features of the composer’s personal manner interest in liturgical genres and sacred texts work out the main idea is preserved formed the music of many contemporary — a comparative intonational rigidity, a which is fully revealed in his later works. throughout the whole piece. This aspect also Russian and European composers. He main- powerful volitional drive and compactness The inclusion of biblical texts in the score relates Karayev’s concept with Chopin’s pre-
# tained an extensive concert schedule, appear- of form. His official recognition in 1962, fol- indeed jeopardized the Credo, which was ludes. The only exception to this is Prelude b
o lowed by an award for the oratorio Walk of practically banned by the composer’s immer- ing regularly as a soloist, with chamber
J No. 10 in E Minor and, perhaps No. 15 in D- Peace and cantata Our Garden, came along sion in the music of the European Middle Flat Major, where the comparison of various ensembles, and with leading orchestras in with no less official condemnation of his Ages, to be continued afterwards in the types of narration or different aspects of the Moscow and throughout Russia. He has per- Obituary for large symphony orchestra where 1970s, announcing a new stage of his creative main idea are interrelated with the inherent formed with such renowned soloists as violin- the composer employed dodecaphony achievements. The Third Symphony is contrasting content. The entire cycle is distin- ists Nana Yashvili, Valentin Zhuk, Kurt (1960), and which was received with consid- indeed closely related to the music of the guished by a fine artistic taste, as well as a Nikkanen, and Piet Koornhof. erable disapproval. Afterwards, during the medieval period, signifying the composer’s wider selection of expressive means, includ- 1960s, the heroic age for the Soviet avant- abandonment of his earlier idiom. In the ing purely pianistic ones. garde, Pärt became associated with the idea mid-1970s he developed a new style which Born in Moscow, Vladimir began to study Vladimir Yurigin-Klevke of the twelve-tone row, leading to a total he duly designated with the Latin word the piano at the age of four and was then twelve-tone idiom. This was a road common Tintinnabuli (bells). The same title was given Translated by Marina Ter-Mikaelian admitted to the Moscow Conservatory, from to many composers, although Pärt stood out to a cycle, or rather collection, of various which he graduated in 1972, completing his due to his radicalism. Yet there was another instrumental and vocal pieces written at that post-graduate course there in 1976. At the feature which distinguished him from others. time. As the composer maintains, “the beau- Vladimir Yurigin-Klevke Moscow Conservatory, his teachers were the To some extent he always surpassed his col- ty of natural bell sound is associated with leagues; anticipating the evolution of pre- euphony or rather a triad which serves as an The distinguished pianist Vladimir Yurigin- famed Heinrich Neuhaus, and Yakov Zak, a sent-day music, he could express the essence intonational, as well as structural, form- Klevke has been closely associated with renowned pianist and pupil of Neuhaus. of the new stylistic situation in a concise and building basis.” Later, Pärt called his Russian piano music of the 20th Century complete way. tintinnabuli style “an escape into voluntary since he first came to public attention in 1969. Following his years at the Moscow For example, his Concerto for Cello and poverty.” He also associates it with the Then just 20 years old, he won first prize at Conservatory, Vladimir was in demand as Orchestra Pro et contra (1966), an accurate Gregorian chorale. “Gregorian chants the National Piano Competition of both professional musician and teacher. He expression of a multi-semantic polystylistic revealed to me what cosmic mystery is con- Contemporary Soviet Music. His winning has been a member of the faculties of the conflict, can be identified as a “formula” of cealed in the art of combining two or three performance featured the music of Kamchatka High School of Music, the its kind. This line is brought to a culmination musical notes….” Shostakovich, Shchedrin, Gubaidulina and with his Credo in which the quoted C Major This style is subject to natural evolution. Arvo Pärt. Moscow High School of Music, and the prelude from Volume 1 of Bach’s Well- The “polyphonic minimalism” of Tabula Moscow State Pedagogical Institute. Many of Tempered Clavier plays an important dramatic Rasa and Cantus is eventually displaced by In the 25 years between that concert and the his students have continued their education role. Yet Credo uncovers another essential an ever more ascetic mode with a prevailing recording on this CD, Vladimir’s insights into at the best conservatories in Russia and 4 9
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melody, Shostakovich developed a charac- Major is a simple, briefly clouded, lyric utter- one-, two- or three-part writing. Extreme absorbing. Committed to this idea, each teristic contemporary piece where the light ance rooted deeply in Azerbaijanian lyric self-restraint is consequently extended to composer would fancy himself following in and the chamber are merged in the form of folk song. the texture too. This type of writing is char- the steps of Bach, whose preludes and a piano prelude. The generic aspect more or less directly acteristic of Pärt in his liturgical works fugues of the two volumes of the Well- #
b exposes certain devices typical of many which outline the main sphere of his cre- Tempered Clavier are still the greatest o
J Kara Karayev — 24 Preludes for Piano Azerbaijanian dances. The characteristic ele- ative activity. His two major works in this achievement in the world of music. ments penetrate the gracefully whimsical, field are the Latin St. John Passion (1977) and Prelude No. 10 introduces the listener to Kara Karayev’s approach to piano preludes softly radiant idea of the Prelude in D-Flat Stabat mater (1985). the key of C-sharp minor. Here again, one is largely determined by the traditions set Major, No. 15. However, in this piece the Arvo Pärt’s “new simplicity” is indeed might feel the emerging shadow of forth by the founder of the genre, Frédéric composer seems to be much less dependent novel. Free of any naive neoprimitivism, Shchedrin’s great predecessor who had used Chopin. Undoubtedly there is an attractive on one particular folk source, and rhythms his escape into the past in fact paves a way this key to write his own outstanding prelude wealth of ideas and moods, typical of typical of Azerbaijanian folk dance are over- to the future. Obviously, this road is purely and fugue (from the first volume of The Well- Karayev’s piano cycle, and a special aphoris- lapped with those typical of the Italian individual. Tempered Clavier). It appears that in his pre- tic character of utterance which not only does tarantella. lude Shchedrin could not escape the burden not exclude but also concentrates the multi- The free improvisational texture of the Rodion Shchedrin of reminiscences which take him into heart- ple principles of elaboration employed by the impetuously virile Prelude No. 6 in D Minor, Twenty Four Preludes and Fugues for Piano felt reverie and are related to Bach’s piece. composer in his other works. These qualities a musical narration of the heroic past, is inter- This elegant, songful prelude is one of the reflect Kara Karayev’s profound creative twined with intonations typical of the shur Rodion Shchedrin’s cycle of 24 preludes and most impressive in the entire cycle. As for the comprehension of the musical heritage of the mode, or repetitions much in the segyakh fugues for piano, a result of several years of fugue, it is very original in theme, which is great Polish composer, whose preludes mood, a device commonly used by the tar (the work, bears the imprint of the composer’s based on an alternating fifth in its full and encompass all the main qualities of his cre- most popular Azeri folk instrument) players. individual style and genuine inventiveness. diminished form, as well as in the insistent ative spirit — its folk roots and national col- Prelude No. 8 in A Minor presents a Begun in 1964, the first notebook, which has triplet pattern and energetic drive. Its con- oring, its radiant and mournful lyricism, dra- peculiar 3/4 measured funeral procession, presently made a place for itself in the con- densed form covers a wealth of content. matic mood and pathos, romantic fantasy rich in the expressive decorative designs typ- cert repertoire and curriculum, emerged two In the Prelude and Fugue No. 12 the and elegant, sincere language. ical of Azerbaijanian folk songs. years later. The second notebook, 12 preludes gushing flow of music acquires at places In Prelude No. 1 in C Major the unifying All of the 24 preludes give us an insight and fugues, was completed in October 1970 (especially in the fugue) a shade of rage. The element which generates the idea of continu- into the general dramatic sequence and the and 1971. This work Rodion Shchedrin dedi- alarming, impulsive notes so often heard in ous playing, perpetuum mobile, is the rhythmi- basic principle of this cycle. Like Chopin’s cated to his father, the well-known lecturer Rachmaninoff and Scriabin’s works can be cally varied formula of a folk dance com- preludes, each of Kara Karayev’s preludes is and musicologist Konstantin Shchedrin. identified in this piece too. However, the lan- bined with such other features as the fanciful normally an embodiment of one, often To write a cycle of preludes in all major guage of Shchedrin’s prelude is absolutely sparkle of the rast mode with a continuous involved idea, one mood, rich in various and minor keys presents the composer a individual, bearing no features characteristic movement of sixteenths. Prelude No. 5 in D shades. In the majority of preludes the once task which is both extremely difficult and of Rachmaninoff or Scriabin. The fugue is
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like a fantastic tarantella. The insistent recur- composer’s whimsical fantasy or his attempt origin creates features typical of the romance ing the limits of both the miniature form and rence of the initial sound of the theme deter- to contradict such heterogeneous elements of and the instrumental nocturne. Until the cul- the chamber genre. It is not accidental that mines the entire character of the fugue where “the light” and “the serious.” Shostakovich mination in the coda, it is developed on a Leopold Stokowsky made a transcription of the rhythmic momentum is never interrupt- imparts to them features of his personal style, continuously fascinating piano. This is a rare this piece for symphony orchestra and often #
b ed even for a second, while the glamour of integrating them into a musical language of example in the entire cycle when the melodic performed it in his concerts. The prelude o
J passages is enhanced by contrasting registers his own. The twenty-four preludes for piano, breadth makes an illusion of extended form emerges as a synthesis of both the symphon- and shades of sounds. This virtuoso piece Op. 34, were written within 60 days — from with the usual laconicism of expression giv- ic and the chamber, the epic and the lyrical. fully reveals the composer’s temperament late December 1932 through early March 1933. ing place to an entire flood of sounds, very Prelude No. 16 in B Minor is a march and his striving for clear-cut musical ideas. Basically, it is a cross-section of the two exist- much in the spirit of Rachmaninoff. Even the based on a somewhat Prokofievian accentuat- ing trends generally characteristic of piano coda, usually not elaborated in other pre- ed rhythm. It can also be viewed as an ironic Shostakovich — 24 Preludes, Op. 34 cycles: the lyrico-dramatic, psychological (pre- ludes of the cycle, is based here on an effec- treatment of a bright and cheerful march. ludes by Chopin and Scriabin), and the epic, tive development. Prelude No. 17 in A-Flat Major is the Written in 1932-33, the twenty-four preludes graphically concise, lyrico-narrative (Visions Prelude No. 10 in C-Sharp Minor is one composer’s interpretation of a languid senti- signify a new stage in Shostakovich’s creative Fugitives by Prokofiev). of the most inspiring. This is one of the rea- mental waltz, with a deliberately slowed- achievements, noted for his intensive searches Prelude No. 1 in C Major is a lyric intro- sons it acquired a wide popularity and made down tempo. This is largo with a rubato aimed at eliminating the gap between music duction to the entire cycle. Written in a free a place for itself in the concert repertoire. rhythm penetrating throughout. This, togeth- and contemporary life, especially its everyday improvisational manner, with a soft and ten- The composer’s individual transformation of er with a conformable intonational and har- moods. This period may be characterized as der cantilena on a continuous pianissimo, the Chaplinesque soft, soothing compassion monic setting, serves to enhance the expres- transitional, as well as unstable and conflict- despite its chromaticized character, the deep for “the weak” and “the small” is exposed in sivity of the prelude in a parodic way (very ing. It indeed initiated a turning point in the pedal basses, as if softly establishing the con- it in a most concentrated and sincere man- much in the style of Stravinsky’s Mavra) composer’s stylistic approach, generating new templative mood of the work, create an ner. This includes the scene with the street bringing into the foreground in a comic man- emotional motives, crystallizing a new, realis- atmosphere of a noble idea, a quiet medita- organ, the commonplace song of the lonely ner the “reinforced” amoroso and dolce. Or tic subject-matter and musical language, tion. This is immediately contradicted by the tramp, and, finally, an ordinary lyric episode maybe these are just ironic interpretations of although certain features of epatage, deliberate following prelude, No. 2 in A Minor. It seems from the life of a “small” man — all these the “banal” ritenuto. Obviously, the genetic parody, self-contained grotesquerie and as if the composer deliberately plunges the are told with a rare sincerity, warmth and origin of the prelude is rooted in the Chopin eccentricity still prevailed to a certain extent. listener into an atmosphere of sharp stylistic lyricism feasible within such a miniature lyrical waltzes, but with a deliberate “mix- At the same time, the aesthetic basis of his contrasts. In many aspects, this prelude is genre as the prelude. ture” of their noble aspirations with the com- music of this period makes clear yet another especially significant in the entire cycle. To Prelude No. 14 in E-Flat Minor is one of mon motives of everyday life. tendency — that of using semi-borrowings, be able to present in a fresh and novel man- the most inspiring anticipations of Prelude No. 24 in D Minor is a brilliant playing upon certain elements from music by ner the “danger rooted in the everyday Shostakovich’s talent for tragedy and also example of a Prokofievian-style scherzo. Haydn, Beethoven, Tchaikovsky, Chopin and Spanish song” is anything but easy! In one of the best pieces in the entire cycle. Its Using a parodical gavotte-like rhythm others. These are not just an outcome of the Prelude No. 3 in G Major, its songful melodic main idea is symphonic in character, break- based on a sharply modernized classical
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like a fantastic tarantella. The insistent recur- composer’s whimsical fantasy or his attempt origin creates features typical of the romance ing the limits of both the miniature form and rence of the initial sound of the theme deter- to contradict such heterogeneous elements of and the instrumental nocturne. Until the cul- the chamber genre. It is not accidental that mines the entire character of the fugue where “the light” and “the serious.” Shostakovich mination in the coda, it is developed on a Leopold Stokowsky made a transcription of the rhythmic momentum is never interrupt- imparts to them features of his personal style, continuously fascinating piano. This is a rare this piece for symphony orchestra and often #
b ed even for a second, while the glamour of integrating them into a musical language of example in the entire cycle when the melodic performed it in his concerts. The prelude o
J passages is enhanced by contrasting registers his own. The twenty-four preludes for piano, breadth makes an illusion of extended form emerges as a synthesis of both the symphon- and shades of sounds. This virtuoso piece Op. 34, were written within 60 days — from with the usual laconicism of expression giv- ic and the chamber, the epic and the lyrical. fully reveals the composer’s temperament late December 1932 through early March 1933. ing place to an entire flood of sounds, very Prelude No. 16 in B Minor is a march and his striving for clear-cut musical ideas. Basically, it is a cross-section of the two exist- much in the spirit of Rachmaninoff. Even the based on a somewhat Prokofievian accentuat- ing trends generally characteristic of piano coda, usually not elaborated in other pre- ed rhythm. It can also be viewed as an ironic Shostakovich — 24 Preludes, Op. 34 cycles: the lyrico-dramatic, psychological (pre- ludes of the cycle, is based here on an effec- treatment of a bright and cheerful march. ludes by Chopin and Scriabin), and the epic, tive development. Prelude No. 17 in A-Flat Major is the Written in 1932-33, the twenty-four preludes graphically concise, lyrico-narrative (Visions Prelude No. 10 in C-Sharp Minor is one composer’s interpretation of a languid senti- signify a new stage in Shostakovich’s creative Fugitives by Prokofiev). of the most inspiring. This is one of the rea- mental waltz, with a deliberately slowed- achievements, noted for his intensive searches Prelude No. 1 in C Major is a lyric intro- sons it acquired a wide popularity and made down tempo. This is largo with a rubato aimed at eliminating the gap between music duction to the entire cycle. Written in a free a place for itself in the concert repertoire. rhythm penetrating throughout. This, togeth- and contemporary life, especially its everyday improvisational manner, with a soft and ten- The composer’s individual transformation of er with a conformable intonational and har- moods. This period may be characterized as der cantilena on a continuous pianissimo, the Chaplinesque soft, soothing compassion monic setting, serves to enhance the expres- transitional, as well as unstable and conflict- despite its chromaticized character, the deep for “the weak” and “the small” is exposed in sivity of the prelude in a parodic way (very ing. It indeed initiated a turning point in the pedal basses, as if softly establishing the con- it in a most concentrated and sincere man- much in the style of Stravinsky’s Mavra) composer’s stylistic approach, generating new templative mood of the work, create an ner. This includes the scene with the street bringing into the foreground in a comic man- emotional motives, crystallizing a new, realis- atmosphere of a noble idea, a quiet medita- organ, the commonplace song of the lonely ner the “reinforced” amoroso and dolce. Or tic subject-matter and musical language, tion. This is immediately contradicted by the tramp, and, finally, an ordinary lyric episode maybe these are just ironic interpretations of although certain features of epatage, deliberate following prelude, No. 2 in A Minor. It seems from the life of a “small” man — all these the “banal” ritenuto. Obviously, the genetic parody, self-contained grotesquerie and as if the composer deliberately plunges the are told with a rare sincerity, warmth and origin of the prelude is rooted in the Chopin eccentricity still prevailed to a certain extent. listener into an atmosphere of sharp stylistic lyricism feasible within such a miniature lyrical waltzes, but with a deliberate “mix- At the same time, the aesthetic basis of his contrasts. In many aspects, this prelude is genre as the prelude. ture” of their noble aspirations with the com- music of this period makes clear yet another especially significant in the entire cycle. To Prelude No. 14 in E-Flat Minor is one of mon motives of everyday life. tendency — that of using semi-borrowings, be able to present in a fresh and novel man- the most inspiring anticipations of Prelude No. 24 in D Minor is a brilliant playing upon certain elements from music by ner the “danger rooted in the everyday Shostakovich’s talent for tragedy and also example of a Prokofievian-style scherzo. Haydn, Beethoven, Tchaikovsky, Chopin and Spanish song” is anything but easy! In one of the best pieces in the entire cycle. Its Using a parodical gavotte-like rhythm others. These are not just an outcome of the Prelude No. 3 in G Major, its songful melodic main idea is symphonic in character, break- based on a sharply modernized classical
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melody, Shostakovich developed a charac- Major is a simple, briefly clouded, lyric utter- one-, two- or three-part writing. Extreme absorbing. Committed to this idea, each teristic contemporary piece where the light ance rooted deeply in Azerbaijanian lyric self-restraint is consequently extended to composer would fancy himself following in and the chamber are merged in the form of folk song. the texture too. This type of writing is char- the steps of Bach, whose preludes and a piano prelude. The generic aspect more or less directly acteristic of Pärt in his liturgical works fugues of the two volumes of the Well- #
b exposes certain devices typical of many which outline the main sphere of his cre- Tempered Clavier are still the greatest o
J Kara Karayev — 24 Preludes for Piano Azerbaijanian dances. The characteristic ele- ative activity. His two major works in this achievement in the world of music. ments penetrate the gracefully whimsical, field are the Latin St. John Passion (1977) and Prelude No. 10 introduces the listener to Kara Karayev’s approach to piano preludes softly radiant idea of the Prelude in D-Flat Stabat mater (1985). the key of C-sharp minor. Here again, one is largely determined by the traditions set Major, No. 15. However, in this piece the Arvo Pärt’s “new simplicity” is indeed might feel the emerging shadow of forth by the founder of the genre, Frédéric composer seems to be much less dependent novel. Free of any naive neoprimitivism, Shchedrin’s great predecessor who had used Chopin. Undoubtedly there is an attractive on one particular folk source, and rhythms his escape into the past in fact paves a way this key to write his own outstanding prelude wealth of ideas and moods, typical of typical of Azerbaijanian folk dance are over- to the future. Obviously, this road is purely and fugue (from the first volume of The Well- Karayev’s piano cycle, and a special aphoris- lapped with those typical of the Italian individual. Tempered Clavier). It appears that in his pre- tic character of utterance which not only does tarantella. lude Shchedrin could not escape the burden not exclude but also concentrates the multi- The free improvisational texture of the Rodion Shchedrin of reminiscences which take him into heart- ple principles of elaboration employed by the impetuously virile Prelude No. 6 in D Minor, Twenty Four Preludes and Fugues for Piano felt reverie and are related to Bach’s piece. composer in his other works. These qualities a musical narration of the heroic past, is inter- This elegant, songful prelude is one of the reflect Kara Karayev’s profound creative twined with intonations typical of the shur Rodion Shchedrin’s cycle of 24 preludes and most impressive in the entire cycle. As for the comprehension of the musical heritage of the mode, or repetitions much in the segyakh fugues for piano, a result of several years of fugue, it is very original in theme, which is great Polish composer, whose preludes mood, a device commonly used by the tar (the work, bears the imprint of the composer’s based on an alternating fifth in its full and encompass all the main qualities of his cre- most popular Azeri folk instrument) players. individual style and genuine inventiveness. diminished form, as well as in the insistent ative spirit — its folk roots and national col- Prelude No. 8 in A Minor presents a Begun in 1964, the first notebook, which has triplet pattern and energetic drive. Its con- oring, its radiant and mournful lyricism, dra- peculiar 3/4 measured funeral procession, presently made a place for itself in the con- densed form covers a wealth of content. matic mood and pathos, romantic fantasy rich in the expressive decorative designs typ- cert repertoire and curriculum, emerged two In the Prelude and Fugue No. 12 the and elegant, sincere language. ical of Azerbaijanian folk songs. years later. The second notebook, 12 preludes gushing flow of music acquires at places In Prelude No. 1 in C Major the unifying All of the 24 preludes give us an insight and fugues, was completed in October 1970 (especially in the fugue) a shade of rage. The element which generates the idea of continu- into the general dramatic sequence and the and 1971. This work Rodion Shchedrin dedi- alarming, impulsive notes so often heard in ous playing, perpetuum mobile, is the rhythmi- basic principle of this cycle. Like Chopin’s cated to his father, the well-known lecturer Rachmaninoff and Scriabin’s works can be cally varied formula of a folk dance com- preludes, each of Kara Karayev’s preludes is and musicologist Konstantin Shchedrin. identified in this piece too. However, the lan- bined with such other features as the fanciful normally an embodiment of one, often To write a cycle of preludes in all major guage of Shchedrin’s prelude is absolutely sparkle of the rast mode with a continuous involved idea, one mood, rich in various and minor keys presents the composer a individual, bearing no features characteristic movement of sixteenths. Prelude No. 5 in D shades. In the majority of preludes the once task which is both extremely difficult and of Rachmaninoff or Scriabin. The fugue is
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style, revealing, however, some individual feature of Pärt’s creative aspirations — his established formula of utterance used to this repertoire continued to ripen as he per- features of the composer’s personal manner interest in liturgical genres and sacred texts work out the main idea is preserved formed the music of many contemporary — a comparative intonational rigidity, a which is fully revealed in his later works. throughout the whole piece. This aspect also Russian and European composers. He main- powerful volitional drive and compactness The inclusion of biblical texts in the score relates Karayev’s concept with Chopin’s pre-
# tained an extensive concert schedule, appear- of form. His official recognition in 1962, fol- indeed jeopardized the Credo, which was ludes. The only exception to this is Prelude b
o lowed by an award for the oratorio Walk of practically banned by the composer’s immer- ing regularly as a soloist, with chamber
J No. 10 in E Minor and, perhaps No. 15 in D- Peace and cantata Our Garden, came along sion in the music of the European Middle Flat Major, where the comparison of various ensembles, and with leading orchestras in with no less official condemnation of his Ages, to be continued afterwards in the types of narration or different aspects of the Moscow and throughout Russia. He has per- Obituary for large symphony orchestra where 1970s, announcing a new stage of his creative main idea are interrelated with the inherent formed with such renowned soloists as violin- the composer employed dodecaphony achievements. The Third Symphony is contrasting content. The entire cycle is distin- ists Nana Yashvili, Valentin Zhuk, Kurt (1960), and which was received with consid- indeed closely related to the music of the guished by a fine artistic taste, as well as a Nikkanen, and Piet Koornhof. erable disapproval. Afterwards, during the medieval period, signifying the composer’s wider selection of expressive means, includ- 1960s, the heroic age for the Soviet avant- abandonment of his earlier idiom. In the ing purely pianistic ones. garde, Pärt became associated with the idea mid-1970s he developed a new style which Born in Moscow, Vladimir began to study Vladimir Yurigin-Klevke of the twelve-tone row, leading to a total he duly designated with the Latin word the piano at the age of four and was then twelve-tone idiom. This was a road common Tintinnabuli (bells). The same title was given Translated by Marina Ter-Mikaelian admitted to the Moscow Conservatory, from to many composers, although Pärt stood out to a cycle, or rather collection, of various which he graduated in 1972, completing his due to his radicalism. Yet there was another instrumental and vocal pieces written at that post-graduate course there in 1976. At the feature which distinguished him from others. time. As the composer maintains, “the beau- Vladimir Yurigin-Klevke Moscow Conservatory, his teachers were the To some extent he always surpassed his col- ty of natural bell sound is associated with leagues; anticipating the evolution of pre- euphony or rather a triad which serves as an The distinguished pianist Vladimir Yurigin- famed Heinrich Neuhaus, and Yakov Zak, a sent-day music, he could express the essence intonational, as well as structural, form- Klevke has been closely associated with renowned pianist and pupil of Neuhaus. of the new stylistic situation in a concise and building basis.” Later, Pärt called his Russian piano music of the 20th Century complete way. tintinnabuli style “an escape into voluntary since he first came to public attention in 1969. Following his years at the Moscow For example, his Concerto for Cello and poverty.” He also associates it with the Then just 20 years old, he won first prize at Conservatory, Vladimir was in demand as Orchestra Pro et contra (1966), an accurate Gregorian chorale. “Gregorian chants the National Piano Competition of both professional musician and teacher. He expression of a multi-semantic polystylistic revealed to me what cosmic mystery is con- Contemporary Soviet Music. His winning has been a member of the faculties of the conflict, can be identified as a “formula” of cealed in the art of combining two or three performance featured the music of Kamchatka High School of Music, the its kind. This line is brought to a culmination musical notes….” Shostakovich, Shchedrin, Gubaidulina and with his Credo in which the quoted C Major This style is subject to natural evolution. Arvo Pärt. Moscow High School of Music, and the prelude from Volume 1 of Bach’s Well- The “polyphonic minimalism” of Tabula Moscow State Pedagogical Institute. Many of Tempered Clavier plays an important dramatic Rasa and Cantus is eventually displaced by In the 25 years between that concert and the his students have continued their education role. Yet Credo uncovers another essential an ever more ascetic mode with a prevailing recording on this CD, Vladimir’s insights into at the best conservatories in Russia and 4 9
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in a recording of Russian romances, origi- choice of thematic material, as in the cantatas them in the literature and art of various nally on Russian Disc and now available on — Night in Memphis, based on ancient countries and epochs, in ancient Egyptian Delos (DRD 2007). A highlight in his work Egyptian lyric poetry and Rubayat, based on poetry, in the verses of the 14th century with singers was his appearance with verse by oriental poets — Khayam, Khafiz, Persian poet Khafiz and in the works of the # Khakhani. It also prevails in the pieces for 17th century Czech thinker and humanist Jan b world-renowned tenor Nikolai Gedda in o
J 1994 in St. Petersburg. three-string dombras On Tatar Folklore, in the Amos Komensky. However, her music is liking for decorative-type melodics, and intro- directed to present-day reality and people. Vladimir’s extensive touring schedule has duction of oriental musical instruments alien The force of present-day life is presented as a extended to concerts and recitals internation- to the European tradition. Simultaneously, the novelty and a turn toward the future. Her ally, including Russia, Bulgaria, France, signs of Western culture are conspicuous as creative art is an accumulation of the most Germany, USA, Colombia, Costa Rica and well. Gubaidulina’s music is distinguished by important movements in the cultural devel- Spain. He has also been a regular participant the lyricism of her use of percussion, with the opment of the 20th century and presents a in international chamber music festivals. softest tones acquiring a special importance in highly interesting object for studying the Since 1994, he has collaborated with the well- the temple-blocks, and in its fine fragility — in multiple connections between an artist and known international charity program “New the piano strokes of the cymbals, the lyrical his epoch. Names,” which attracts the most talented dolce derived from the dance tambourine. children of Russia. The personality of a performer occupies Arvo Pärt — Partita a special place in Gubaidulina’s creative art. In the process of composition, she ori- In 1980, the composer left the USSR, and in ents herself towards a certain type of cre- conformity with the “tradition” of the time, ative individual, scrupulously examining his compositions were struck from the con- his personal manner of playing, the way he cert programs in his country and from musi- acts on the stage, his gestures and move- cological studies. Yet, in the West, where abroad, including the Royal Academy of ments. A portrait of the performer is Arvo Pärt settled after he left the USSR (first Music in London, and have themselves been embodied in nearly all of her works. in Vienna and then in Berlin) he is still con- active in piano competitions. Gubaidulina continuously cultivates the sidered a Soviet composer. non-tempered musical “space.” Glissando, Arvo Pärt’s creative potential manifested Also noteworthy is Vladimir’s work with such a favorite of hers, is nothing so much itself already during his years in the Tallinn singers, among them leading soloists of the as the cultivation of the new micro-interval Conservatory where he studied under Heino Bolshoi Theatre‚ such as soprano Bella sphere of later European harmony. Eller and from which he graduated in 1963. Rudenko, bass Alexander Vedernikov, and Gubaidulina is attracted by the eternal He earned his first public renown with his bass Arthur Eisen. He collaborated with the themes of art and human life, like good and piano compositions — two sonatinas and the late, great Armenian soprano Arax Davtian evil, life and death, moral duty. She finds Partita (1958-1959). They are neoclassical in
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Sofia Gubaidulina was first tested in the cantatas written in the Ciaconna in B Minor, 1961 late 1960s — Night in Memphis and Rubayat. Also Available on Delos In the 1970s, the technique of musical devel- While women poets have been known since opment employing polar contrasts became a Russian Romances # ancient times, women composers have been permanent feature of Gubaidulina’s personal b
o a rarity in European culture up to the 20th style. This contrasting dramatic thinking thus Arax Davtian, soprano J century. The talent and professional mastery asserts a new and most significant stage in Vladimir Yurigin-Klevke, piano of Sofia Gubaidulina are undisputed; her the composer’s stylistic evolution. music has won renown in her own country Gubaidulina's creative works are in DRD 2007 (DDD) and internationally. Her works are notable many ways a reflection of the universal char- for a broad, sweeping, large-scale character; acter of the present-day creative process, an Music of her style is distinguished by a high artistic intensive interpenetration of various cultures temperament and will power. In her creative and, as a result, a clearly delineated aware- GLINKA career several periods can be singled out. The ness of typically national features in every DARGOMYZHSKIY earlier period is characterized by the devel- national art, and a striving to contribute the TCHAIKOVSKY opment of polyphonic technique and a skill wealth of one’s own national culture to RACHMANINOFF in building larger musical forms (“Ciaconna” world culture. Employed by Gubaidulina, for piano solo). Impulsive rhythms combined this tendency found its expression in a syn- “one of the most beautiful, honest and with a somewhat dry and hard texture thetic merging of several artistic notions touching recordings of these Russian became a hallmark of this composer’s per- characteristic of the East and the West. This musical gems” Constantine Orbelian sonal style. The creation of her individual merging melds together the dynamic charac- manner required an overcoming of tonal ter of musical development and the emotion- Arax Davtian (1949-2010), People’s Artist of Armenia, was often called Armenia’s asceticism and unfolding rich inner resources al and intellectual activity characteristic of of musical sound. Gubaidulina emerged as the West with an Eastern spontaneity, impro- greatest soprano. She recorded this choice collection for Russian Disc in 1994, at the one of those composers of the 1960s who visational basis, ability for self-development, urging of Constantine Orbelian, who conducted many performances and tours featur- made an energetic contribution in the renew- and a purely Eastern subtle, somewhat ing Arax with the Moscow Chamber Orchestra. Constantine writes in his memorial al of the “musical fabric,” saturating it with sophisticated coloristic timbre. In this very tribute to Arax that when he first heard her sing he was taken with “her crystal clear new fresh timbres, intonations, and methods profound and organic synthesis, the oriental voice, pinpoint intonation, beautiful phrasing and line,” and goes on to say that “Arax of instrumental playing. As the years passed, aspect loses its exotic tint to bring out a was blessed with the rarest of all gifts: truth and sincerity in art.” her music adopted one more dimension — philosophical background filled with deep that of expressing a struggle of contrasting psychological meaning. sources characteristic of the European classi- The oriental features, easily discernible in cal tradition. This type of musical structure Gubaidulina’s works, can be identified in the
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20th Century Russian Piano Music Vladimir Yurigin-Klevke, piano # b
o Sofia Gubaidulina (1931–) Rodion Shchedrin (1932–) J 1 Ciaconna (1961) (11:33) 24 Preludes and Fugues for Piano (1964-70) 12 No. 10 in C-Sharp Minor (5:54) Arvo Pärt (1935–) 13 No. 12 in G-Sharp Minor (4:02) Partita (1965) 2 Toccatino – Fughetta (2:06) Kara Karayev (1918–1982) 3 Larghetto – Ostinato (4:53) 24 Preludes for Piano (1951-61) 14 No. 1 in C Major (1:23) Dmitri Shostakovich (1906–1975) 15 No. 2 in C Minor (1:30) 24 Preludes, Op. 34 (1932-33) 16 No. 3 in G Major (0:55) 4 No. 1 in C Major (1:28) 17 No. 5 in D Major (1:34) 5 No. 2 in A Minor (0:58) 18 No. 6 in D Minor (1:00) 6 No. 3 in G Major (2:17) 19 No. 8 in A Minor (2:49) 7 No. 10 in C-Sharp Minor (1:59) 20 No. 10 in E Minor (1:21) 8 No. 14 in E-Flat Minor (2:25) 21 No. 15 in D-Flat Major (1:16) 9 No. 16 in B Minor (1:01) 22 No. 19 in E-Flat Major (2:31) 10 No. 17 in A-Flat Major (1:51) 23 No. 23 in F Major (1:17) 11 No. 24 in D Minor (1:15) TOTAL PLAYING TIME: 57:45
Recording producer & engineer: Tatiana Vinnitskaya Recorded in Studio 5, State Radio, Moscow, Russia Mastering: Oleg Ivanov 7 W 2011 Delos Productions, Inc., P.O. Box 343 Sonoma, CA 95476-9998 (707) 996-3844 • Fax (707) 320-0600 • (800) 364-0645 Disc Made in Canada • Assembled in USA www.delosmusic.com
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CYAN MAGENTA YELLOW BLACK D D E E L L O O 20 th Century Russian Piano Music S S D D Vladimir Yurigin-Klevke, piano R R D D # b 2 2 o 0 0 J 0 0 8 8 Sofia Gubaidulina (1931 –) Rodion Shchedrin (1932 –) 1 Ciaconna (1961) (11:33) 24 Preludes and Fugues for Piano (1964-70) 2 2 0 12 No. 10 in C-Sharp Minor (5:54) 0 t t h Arvo Pärt (1935 –) 13 No. 12 in G-Sharp Minor (4:02) h C C e e n Partita (1965) n t t u u r 2 Toccatino – Fughetta (2:06) Kara Karayev (1918 –1982) r y y R 3 Larghetto – Ostinato (4:53) 24 Preludes for Piano (1951-61) R u u s s s 14 No. 1 in C Major (1:23) s i i a a n Dmitri Shostakovich (1906 –1975) 15 No. 2 in C Minor (1:30) n P P i 24 Preludes, Op. 34 (1932-33) 16 No. 3 in G Major (0:55) i a a n n o 4 No. 1 in C Major (1:28) 17 No. 5 in D Major (1:34) o M M u 5 No. 2 in A Minor (0:58) 18 No. 6 in D Minor (1:00) u s s i i c 6 No. 3 in G Major (2:17) 19 No. 8 in A Minor (2:49) c • • Y 7 No. 10 in C-Sharp Minor (1:59) 20 No. 10 in E Minor (1:21) Y u u r r i i g 8 No. 14 in E-Flat Minor (2:25) 21 No. 15 in D-Flat Major (1:16) g i i n n - 9 No. 16 in B Minor (1:01) 22 No. 19 in E-Flat Major (2:31) - K K l l e 10 No. 17 in A-Flat Major (1:51) 23 No. 23 in F Major (1:17) e v v k k e 11 No. 24 in D Minor (1:15) e TOTAL PLAYING TIME : 57:45 O O D D R R I I G G I I G G I I T T I I N N A A A A L 7 2011 DELOS PRODUCTIONS, INC. DRD 2008 L L W L #13491-CAAICi P.O. Box 343, Sonoma, California 95476-9998 Disc Made in Canada. Assembled in the USA. • www.delosmusic.com
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