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Home , Alexander Borodin, Christmas Eve (opera), Fyodor Stravinsky, May Night, Pan Voyevoda, Polonaise

CHAN 10369(2) X RIMSKY-KORSAKOV AND SUITES FROM THE

Scottish National Orchestra Neeme Järvi 21

CCHANHAN 10369(2)X10369(2)X BOOK.inddBOOK.indd 20-2120-21 221/8/061/8/06 10:02:4910:02:49 Nikolai Andreyevich Rimsky-Korsakov (1844–1908)

COMPACT DISC ONE 1 Overture to ‘’ 9:06

Suite from ‘’ 13:16 2 I Beautiful Spring 4:28

Drawing by /AKG Images 3 II Dance of the Birds 3:18 4 III The Procession of Tsar Berendey 1:49 5 IV Dance of the Tumblers 3:40

Suite from ‘’ 19:18 6 I Introduction 3:19 7 II Redowa. A Bohemian Dance 3:55 8 III Lithuanian Dance 2:24 9 IV Indian Dance 4:21 10 V Procession of the Nobles 5:18

Suite from ‘’ 29:18 11 Christmas Night – 6:15 12 Ballet of the Stars – 5:21 13 Witches’ sabbath and ride on the Devil’s back – 5:30 14 Polonaise – 5:47 15 Vakula and the slippers 6:23 TT 71:30

Nikolai Andreyevich Rimsky-Korsakov, 1888

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CCHANHAN 10369(2)X10369(2)X BOOK.inddBOOK.indd 2-32-3 221/8/061/8/06 10:02:4210:02:42 COMPACT DISC TWO Rimsky-Korsakov: Overture and Suites from the Operas Musical Pictures from ‘The Tale of Tsar Saltan’ 21:29 1 I Tsar’s departure and farewell 4:57 2 II Tsarina adrift at sea in a barrel 8:43 Among Russian composers of the same year he was posted to the clipper Almaz on 3 III The three wonders 7:48 generation as Tchaikovsky, who were which he sailed on foreign service for almost prominent in the latter part of the three years, putting in at Gravesend (with a 4 The Flight of the Bumble-bee 3:22 nineteenth century, Nikolai Andreyevich visit to London), cruising the Atlantic coasts Interlude, Act III, from The Tale of Tsar Saltan Rimsky-Korsakov is unrivalled in his of North and South America, the Cape Verde mastery of orchestral resource. He was Islands and the Mediterranean, before Suite from ‘The Invisible City of Kitezh’ 24:33 the youngest of the group dubbed ‘the returning to in 1865. 5 I Prelude. A Hymn to Nature 4:59 Mighty Handful’ or ‘’ (they The young Nikolai had shown a childish 6 II Wedding Procession 3:12 otherwise comprised , precocity in music, and while at cadet 7 III Tartar invasion and Battle of Kerzhenets 4:35 , César Cui and Modest school he came under the spell of Glinka’s Mussorgsky); in Sheherazade and Spanish music, as well as meeting Balakirev, Cui and 8 IV Death of Fevroniya and apotheosis of the Invisible City 11:47 Capriccio he composed two of the most Mussorgsky. Although he was unschooled popular orchestral works of the romantic in music theory, Balakirev encouraged him Suite from ‘’ 27:52 repertoire; he published important to begin a , and on his return (Le Coq d’Or) textbooks on harmony and , from the naval voyage the fi nished work 9 I Introduction and Dodon’s sleep 10:33 as well as a fascinating autobiography, and was performed at a concert in St Petersburg 10 II King Dodon on the battlefi eld 3:46 among the pupils much indebted to him under Balakirev’s direction. His shore duties 11 III Queen of Shemakha’s Dance – King Dodon’s Dance 7:15 were Stravinsky and Prokofi ev. now meant there was more time for music, 12 IV Wedding Feast – Death of King Dodon – Finale 6:17 Rimsky-Korsakov was born on 18 March and Rimsky-Korsakov became increasingly TT 77:47 1844 at Tikhvin, near Novgorod, the son involved in it until he was able to resign his of a retired civil governor in a family also naval commission in 1873. Scottish National Orchestra distinguished by its naval connections. Like In spite of his limited knowledge of Edwin Paling leader his elder brother, who became an admiral, textbook technique, he had been offered, Neeme Järvi he was enrolled at the naval cadet school in and accepted, a professorship of practical St Petersburg, and graduated into the composition and instrumentation at the Imperial Russian Navy in 1862. Later that St Petersburg Conservatory in 1871. By a

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CCHANHAN 10369(2)X10369(2)X BOOK.inddBOOK.indd 4-54-5 221/8/061/8/06 10:02:4510:02:45 combination of disciplined self-teaching and after the composer died. Korsakov’s fi fteen operas, as the overture formal permission for Levko and Hanna to bluff he managed to keep just ahead of his He worked with Balakirev in preparing for and six orchestral suites recorded here wed, and all ends happily. fi rst pupils, and laid the foundation for his publication full scores of Glinka’s A Life vividly testify. The music was quickly composed straight technical expertise. He also began his fi rst for the Tsar and Ruslan and Lyudmila, and into full score, and the Overture then based , Pskovitianka (The Maid of Pskov, which after Mussorgsky’s death he edited in his on themes from it, mainly Levko’s duets with COMPACT DISC ONE Sergey Diaghilev renamed ‘Ivan the Terrible’ own way the scores of and Hanna and Pannochka, and the wedding when he fi rst brought it to the West), and this , versions nowadays looked Overture to ‘May Night’ celebrations of the fi nal scene. Rimsky- was successfully produced at the Maryinsky on with less favour, as is his completion and After his work on the collections of Russian Korsakov here abandoned the grand opera Theatre, St Petersburg, in 1873. orchestration of Borodin’s . folksongs for which he composed piano manner of his fi rst opera, The Maid of Later that year, Rimsky-Korsakov having His industriousness in these projects, as accompaniments, and on Glinka’s operas, Pskov, in favour of the greater translucency left the Navy, a friendly Minister of Marine well as in his own works, made him the Rimsky-Korsakov found his own operatic of orchestration that he had learned from created for him the post of Inspector of master of an orchestral style distinctively his interest moving in a different direction. Glinka, and a style of fantasy comedy Naval Bands, and in this capacity he studied own. The operas to which he increasingly May Night (Mayskaya noch’) came from the in music which became the basis of his exhaustively the and technique turned his attention owe more of their same collection of Gogol’s stories, Evenings most successful theatre works. In the fi rst of orchestral instruments, teaching himself musical character to the orchestral colours on a Farm at Didanka, which had already production of May Night at the Maryinsky to play a number of them. This led him and textures than to the voices, and his furnished Mussorgsky with Sorochintsy Fair Theatre, the role of the Mayor was sung by to formulate the basis for his treatise on writing of melody, harmony and counterpoint and then Tchaikovsky with Vakula the one , whose son Igor was orchestration, which was eventually edited was invariably associated with specifi c Smith (later revised as ), which born two years later. for publication only after his death. He instrumental character, singly or in groups. Rimsky-Korsakov would himself later use for succeeded Balakirev as conductor of a He used instrumental timbres as a painter uses Christmas Eve. Suite from ‘The Snow Maiden’ concert series at the Free School of Music, primary colours, savouring their brilliance and May Night is a fantasy tale of Ukrainian Soon after fi nishing May Night, Rimsky- but never became more than moderately mixing them with an ear to theatrical effect. village life, in which the betrothal of Hanna Korsakov read again ’s profi cient in this respect; and he edited two The best of Rimsky-Korsakov’s talent is to Levko is fi ercely opposed by his father, the fantasy play The Snow Maiden (), collections of Russian folksongs. probably manifest in the wealth of pictorial Mayor, who has an eye for Hanna himself. for which Tchaikovsky had composed some From time to time Rimsky-Korsakov suggestion, in terms of timbre and sonority, After teaching the old man a lesson, Levko incidental music in 1873. Rimsky-Korsakov was diverted from his own composition of ingenious chordal progressions and wins the favour of Pannochka, Queen of the had not much liked the play before but, by his concern with the unfi nished works carefully crafted detail. That talent was, in Russalkas (or water sprites). The reward she attracted to it by a new-found interest in of others. As early as 1868 he orchestrated particular, admirably suited to conveying offers in return for Levko’s identifying the folklore, part of Cui’s opera William Ratcliffe and the the sense of fantasy and magic which is an witch responsible for her death as a mortal, suddenly perceived its marvellous poetic next year scored Dargomïzhsky’s unfi nished essential ingredient in most of Rimsky- is to obtain from the district governor beauty. My mild interest in the ancient

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CCHANHAN 10369(2)X10369(2)X BOOK.inddBOOK.indd 6-76-7 221/8/061/8/06 10:02:4510:02:45 Russian customs and heathen pantheism His music accordingly made use of folk when Gedeonov lost his post before it could This suite was put together in advance took fi re. There seemed no better subject themes and motifs, but he stressed that their be fi nished, but nearly twenty years later of the opera’s premiere, and has continued than this, no more poetic fi gures than working-out was in his own way. Rimsky-Korsakov was persuaded to rework to be heard when the main work is long Snegurochka, Lel or the Spring Fairy… Ostrovsky was delighted by the premiere the Krylov and compose it alone. forgotten. There is a slow Introduction of no better religion and philosophy of life in St Petersburg: It happened that he had just had his mood , then three dances from than the worship of the sun-, Yarilo. I could never have imagined anything fi rst experience of Wagner when Angelo the Cleopatra scene: a Redowa, a vigorous In pan-Slavonic mythology the sun- more appropriate to the subject, Neumann’s touring ‘ and graceful Bohemian dance resembling god was associated with carnal love and expressing with such vitality all the poetry Theatre’ company visited St Petersburg a (the score specifi es Tempo di fecundity, celebrated in spring festivals, often both of the Russian pagan cult and of the in 1889 and gave four cycles of the Ring mazurka); a ‘Lithuanian Dance’, Allegro lasting several days, at the time of the fi rst heroine, whose heart is at fi rst as cold as operas. Rimsky-Korsakov went to all the vivo, and an ‘Indian Dance’, Allegretto sowing. Rimsky-Korsakov wrote his own snow, but later is fi lled with unrestrained rehearsals with his former pupil Alexander mosso. Last is the splendid ‘Procession of the libretto, glorifying the life-giving forces passion. Glazunov and was overwhelmed by Nobles’ which opens the opera’s second act, of nature, which bring man’s happiness, The orchestral suite begins with a picture Wagner’s orchestral writing and its effect in the fanfares and drums leading to a march and contrasting the real and the imaginary of spring and a ‘Dance of the Birds’, the theatre. Mlada was composed under this that in its instrumentation includes through the fi gure of the Snow Maiden, paints the procession of Tsar Berendey infl uence, which gave the music a heavier played chromatically. daughter of Frost and Spring, who is in whose domain the tale is set, and ends weight of orchestral tone than is found in irrevocably drawn to the warmth of mortal with the ‘Dance of the Tumblers’ from the that of most of the other operas. Suite from ‘Christmas Eve’ love only to be destroyed by it. midsummer festivities of the Berendeyans. A complex subject involves elements of The same collection of stories by Gogol According to the composer, he spent much demonology, pagan rites and intrigue in which had given Rimsky-Korsakov his time in the summer of 1880, while working Suite from ‘Mlada’ an imaginary kingdom on the shores of May Night also provided him with Christmas on the opera, walking the countryside in a Designated a ‘Grand Opera-Ballet’, Mlada the Baltic Sea during the ninth century. Eve (Noch’ pered Rozhdestvom). Tchaikovsky state of heightened excitement, communing had a curious origin as a composite project Much of the dramatic element, however, is had already used it for Vakula the Smith with trees and streams, listening to birds and in 1871–72 initiated by the Director of relegated to the background, and even the (later known as Cherevichki), and respect animals, and feeling himself at one with the the Imperial Theatres at that time, one composer wrote that for his colleague made Rimsky-Korsakov natural beauty around him: Gedeonov. He devised a subject for a libretto the description of old customs and the hold back until after Tchaikovsky’s death In obedience to my pantheistic frame of by Ivan Krylov, and invited Borodin, Cui, fantasy element came too prominently to in 1893. He faithfully followed the course mind I harkened to the voices of folk- Mussorgsky and Rimsky-Korsakov each to the fore. of Gogol’s tale, in which Vakula wins his creation and Nature, and what they had compose one act, while Léon Minkus was to An example of the latter is a dream sequence bride by obtaining for her the Empress’s sung and suggested I made the basis of my write the ballet music for choreography by at the court of Cleopatra, from which much slippers after riding to St Petersburg on creative art. Marius Petipa. The project was abandoned of the orchestral suite derives. the Devil’s back, but he added to it more

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CCHANHAN 10369(2)X10369(2)X BOOK.inddBOOK.indd 8-98-9 221/8/061/8/06 10:02:4610:02:46 of the Russian pagan ritual fi gures and having signalled Rimsky-Korsakov’s Washed up on a magic island, the grown the last, and the present recording adds to seasonal deities. recovery of an instinct for colour which Prince Gvidon kills a hawk and thereby the published suite the famous ‘Flight of the Later the composer wrote: had become somewhat diffused after releases a Swan Princess from an evil spell. Bumble-bee’, an interlude from the opera’s My enthusiasm for myths and my his discovery of Wagner just before the With her help the Prince returns to his third act in which Gvidon revenges himself combining them with Gogol’s story were, composition of Mlada. father’s court in the guise of a bee, stings his on his wicked aunts. of course, a mistake on my part, but a enemies unmercifully, reunites his father mistake which offered the opportunity of and mother, and himself marries the Swan Suite from ‘The Invisible City of Kitezh’ COMPACT DISC TWO writing a wealth of interesting music. Princess. The full title of what in some accounts of The orchestral suite bears him out, starting Musical Pictures from ‘The Tale of That element of satire which was to be so the composer is described as the fi nest of with an introduction setting the Christmas Tsar Saltan’ strongly evident in The Golden Cockerel is also his operas is Legend of the Invisible City of Eve scene of glittering stars ( Among the singers at ’s ‘Private apparent in this opera, which shows abundant Kitezh and the Maiden Fevroniya, exactly and trills) and snow-covered ’ (so called because it was skill in tone painting with the brightest of acknowledging the confl ation of the two landscape (murmuring strings). Then fi nanced by a railway magnate) were, in the instrumental colours. Much of the music for legends that went to its making. These were follows an astronomical ballet: the stars 1890s, the young Fyodor Chaliapin and the Swan Princess is more instrumental than woven into a semi-religious miracle play as dancing a mazurka (fl ute solo), a fl ight of Nadezhda Zabela-Vrubel, a lyric coloratura vocal in character, and each of the four acts well as a magical fantasy, perhaps refl ecting comets in a round dance or khorovod, and a much admired by Rimsky-Korsakov. has a lengthy orchestral prelude. Those to Rimsky-Korsakov’s response to the new rain of falling stars in a csárdás. He composed The Tsar’s Bride for her in Acts I and II form the fi rst two movements of artistic trends of symbolist poetry and the A darkening sky heralds a witches’ 1898, and also had her in mind for the role the suite, which the composer assembled and apocalyptic musical visions of Scriabin; it was sabbath while Vakula is seen in fl ight on of the Swan Princess in his next fantasy opera, called by the title above. to be the last of his operas which he lived to the Devil’s back, and upon the arrival at The Tale of Tsar Saltan, of His Son the Famous The mainly martial music of the fi rst see staged. the Imperial court the music of the ride and Mighty Hero Prince Gvidon Saltanovich, movement depicts the Tsar setting off to the Fevroniya of Murom is a strange child of changes to a polonaise, transcribed from a and of the Beautiful Swan Princess, the libretto wars. The second movement is a vivid sea nature and an embodiment of goodness, who choral dance in the opera. Rimsky-Korsakov by Vladimir Ivanovich Byelsky being based picture of his wife and son adrift in their is found by Prince Vsevolod. Before they himself pointed out that his music was on another story by Pushkin. barrel, and the ‘three wonders’ of the third can be married, the city of Little Kitezh falls often instrumental in conception even when The opera’s magical adventure concerns movement refer to a squirrel which cracks victim to marauding Tartars. By accepting used vocally. In the last ‘picture’, Vakula the youngest of three sisters, whom Tsar golden nuts, to the sea fl ooding Gvidon’s blame for the city’s betrayal (of which she returns with the slippers as Christmas Day Saltan chooses as his bride. Her wicked island and leaving behind thirty gold- is, in fact, innocent), Fevroniya keeps intact dawns and church bells are heard. Pictorial older sisters make him think that she has helmeted warriors, and to the Swan Princess Kitezh the Great, which is opportunely brilliance is once more the main quality given birth to a monster, and he orders herself. A fanfare at the start of hidden in a cloud. The marauders see only of the suite, the opera’s fi rst performance wife and child to be cast adrift in a barrel. each movement plays a prominent role in its refl ection in a lake, but Vsevolod is killed

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CCHANHAN 10369(2)X10369(2)X BOOK.inddBOOK.indd 10-1110-11 221/8/061/8/06 10:02:4610:02:46 in battle with them. His spirit appears to Suite from ‘The Golden Cockerel’ The second movement is from the Considered one of Europe’s leading Fevroniya, and she is united with him in the (‘Le Coq d’Or’) introduction to Act II, depicting a weird, symphony orchestras, the Royal Scottish Invisible City, a kind of Sancta Civitas or Rimsky-Korsakov died before The Golden chill battlefi eld on which the two sons of National Orchestra (formerly the Scottish citadel of the Orthodox faith. Cockerel (Zolotoy petushok) could be Dodon have managed to slay each other. National Orchestra) was formed in 1891 as The libretto was, once more, by Byelsky produced, the offi cial censor having found He leads a timid army in response to the the Scottish Orchestra, and was awarded had previously worked with the subversive elements in Pushkin’s satire on Cockerel’s warning, and discovers only the Royal Patronage in 1991. Many conductors composer on and The Tale of Tsar pompous and ineffectual autocracy, on exotic Queen and her retinue. Dodon is have contributed to its success, including Saltan, and who was to collaborate with him which Byelsky had based his libretto. It has instantly captivated, and the Queen increases Karl Rankl, Hans Swarowsky, Walter again on The Golden Cockerel. Although been suggested that the opera, in the fi gure her power over him in the seductive dance of Susskind, Sir Alexander Gibson, Bryden Rimsky-Korsakov was not an Orthodox of the doddering King Dodon, his fratricidal the third movement. A change of tempo to Thomson and Neeme Järvi. Currently, believer, he began to respond to the aesthetic sons and bumbling courtiers, was thought to Allegro giocoso represents the grotesque efforts Walter Weller is Conductor Emeritus, appeal of its doctrine, and this was refl ected refl ect adversely on Tsar Nicholas II and the of Dodon himself to dance, and preparations is Principal Conductor, in a new-found depth of expression in conduct of the Russo-Japanese war at that are made for his return with the Queen as Marin Alsop is Principal Guest Conductor Fevroniya’s music. No other operatic time. The Golden Cockerel is a present to his bride. and Garry Walker is Associate Conductor. profession of faith, or of aspiration, is quite Dodon from a mysterious Astrologer, a kind They are accompanied by music of The Orchestra gives more than 130 like this in its naive directness, contrasted of ‘early warning’ in time of danger, but it also barbaric splendour as they return for performances each year in Scotland, appears with barbaric spirit and luminous tone becomes the instrument of Dodon’s death. the wedding feast. This is cut short by regularly at the Edinburgh International painting. The orchestral suite was prepared according the Cockerel’s shattering cry, at which Festival and the BBC , and has toured The orchestral suite comprises the Prelude, to Rimsky-Korsakov’s intentions by Glazunov the Astrologer reappears to demand the abroad through Austria, Croatia, Slovakia subtitled ‘A Hymn to Nature’, painting a and (the composer’s Queen for himself, in return for services and Spain. It has recorded a varied range forest scene with Fevroniya sharing the life son-in-law). The fi rst movement quickly rendered. When Dodon refuses and kills of works, including fi lm soundtracks such of the birds and beasts, which is followed establishes a fantastic character in the high, the Astrologer, the Cockerel swoops down as Titanic, Superman, , Jaws and by the joyful ‘Wedding Procession’ in which muted trumpet that represents the bird’s and with one peck of its golden beak strikes Vertigo. Prince Vsevolod leads her to Little Kitezh. warning call, in a sinuous theme the King dead. The opera has an epilogue in The Orchestra’s education programme Then comes a vivid depiction of the Battle associated with the Queen of Shemakha (who which the Astrologer suggests that perhaps continues to develop musical talent and of Kerzhenets between the Tartars and the conquers Dodon’s heart and kingdom), and only he and the Queen were ‘real’, and appreciation by working with people of men of Kitezh. Finally, the acceptance by in an off-beat chiming of small bells over Rimsky-Korsakov thereby ended his career all ages and abilities throughout Scotland, Fevroniya of death in order to rejoin her shifting harmonies that evoke the Astrologer with an enigmatic question-mark. and has earned the Orchestra the Royal Prince leads to an apotheosis as they ascend while Dodon remains asleep, dreaming of the Philharmonic Society’s prestigious to the Invisible City, a paradise of the spirit. Queen despite the Cockerel’s warnings. © Noël Goodwin Education Award. The Royal Scottish

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CCHANHAN 10369(2)X10369(2)X BOOK.inddBOOK.indd 12-1312-13 221/8/061/8/06 10:02:4710:02:47 National Orchestra was recently awarded a Concertgebouw Orchestra, Philharmonia The Operas of Rimsky-Korsakov Classic FM ‘Red F’ award for outstanding Orchestra, New York Philharmonic, contribution to in 2002, Chicago Symphony Orchestra, Philadelphia Title Completed First performance through its recording, performance, Orchestra, Sydney Symphony Orchestra, The Maid of Pskov 1872 13 Jan. 1873 P education and outreach work. Melbourne Symphony Orchestra, The May Night 1879 21 Jan. 1880 P , San Francisco Opera, The Snow Maiden 1881 10 Feb. 1882 P Since 2004 Neeme Järvi has been Principal Opéra national de -Bastille and Mlada 1890 1 Nov. 1892 P Conductor of the New Jersey Symphony the major orchestras of Scandinavia. He Christmas Eve 1895 10 Dec. 1895 P Orchestra. He is also Music Director of the also directs a conductors’ master-class in Sadko 1896 7 Jan. 1898 M Detroit Symphony Orchestra, Principal Pärnu, Estonia, for two weeks each July. Mozart and Salieri 1897 7 Dec. 1898 M Conductor of the Gothenburg Symphony Neeme Järvi has amassed a distinguished Boyarina Vera Sheloga 1898 27 Dec. 1898 M Orchestra since 1982, First Principal Guest discography of more than 350 discs, and The Tsar’s Bride 1898 3 Nov. 1899 M Conductor of the Japan Philharmonic many accolades and awards have been The Tale of Tsar Saltan 1900 3 Nov. 1900 M Orchestra and Conductor Laureate of the bestowed on him worldwide. He holds Serviliya 1901 14 Oct. 1902 P Royal Scottish National Orchestra. Born honorary degrees from the University of Kashchey the Immortal 1902 25 Dec. 1902 M in Tallinn, Estonia, he is one of today’s Aberdeen, the Royal Swedish Academy of 1903 16 Oct. 1904 P busiest conductors, making frequent guest Music and the University of Michigan, The Invisible City of Kitezh 1905 20 Feb. 1907 P appearances with the foremost orchestras and has been appointed Commander of The Golden Cockerel 1907 7 Oct. 1909 M and opera companies of the world, including the Order of the North Star by the King (Le Coq d’Or) the Berlin Philharmonic Orchestra, Royal of Sweden. Bold type indicates operas represented on this CD set P = St Petersburg M = Moscow

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CCHANHAN 10369(2)X10369(2)X BOOK.inddBOOK.indd 14-1514-15 221/8/061/8/06 10:02:4710:02:47 Also available Also available

Strauss Shostakovich Four Last Songs Ballet Suites Nos 1–5 Closing Scene from Capriccio Festive Overture Orchestral Songs Suite from Katerina Ismailova CHAN 10075 X CHAN 10088(2) X

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CCHANHAN 10369(2)X10369(2)X BOOK.inddBOOK.indd 16-1716-17 221/8/061/8/06 10:02:4710:02:47 Also available

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Recording producer Brian Couzens Sound engineer Ralph Couzens Assistant engineer Bill Todd Editor Brian Couzens Mastering Jonathan Cooper A & R administrator Mary McCarthy Recording venue City Hall, Glasgow; 2 April and 24 May 1984 Front cover The Capture of the Snow Fortress (1891) by Vassily Ivanovich Surikov (1848–1916)/ State Russian , St Petersburg/The Bridgeman Art Library Back cover Photograph of Neeme Järvi (photographer unknown) Design and typesetting Cassidy Rayne Creative Booklet editor Finn S. Gundersen p 1984 Chandos Records Ltd Rachmaninov This compilation p 2006 Chandos Records Ltd The Bells • Vocalise Digital remastering p 2006 Chandos Records Ltd Dances from Aleko • Capriccio bohémien © 2006 Chandos Records Ltd CHAN 10327 X Chandos Records Ltd, Colchester, Essex CO2 8HX, England Printed in the EU

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CCHANHAN 10369(2)X10369(2)X BOOK.inddBOOK.indd 18-1918-19 221/8/061/8/06 10:02:4810:02:48 RIMSKY-KORSAKOV: RIMSKY-KORSAKOV: CHANDOS CLASSICS 2-disc set CHAN 10369(2) X

Printed in the EU Public Domain Nikolai Andreyevich

0 8 OVERTURE AND SUITES FROM THE OPERAS RIMSKY-KORSAKOV (1844–1908) 9 5 1 1 5 1 3 6 9 2 OVERTURE AND SUITES FROM THE OPERAS LC 7038 DDD TT 149:17 24/96 kHz digitally remastered OVERTURE AND SUITES FROM THE OPERAS

COMPACT DISC ONE 1 Overture to ‘May Night’ 9:06 2 - 5 Suite from ‘The Snow Maiden’ 13:16 6 - 10 Suite from ‘Mlada’ 19:18 11 - 15 Suite from ‘Christmas Eve’ 29:18 TT 71:30

COMPACT DISC TWO 1 - 3 Musical Pictures from ‘The Tale of Tsar Saltan’ 21:29

- SNO/Järvi 4 The Flight of the Bumble-bee 3:22 - SNO/Järvi Interlude, Act III, from The Tale of Tsar Saltan Scottish 5 - 8 Suite from ‘The Invisible City of Kitezh’ 24:33 National Orchestra 9 - 12 Suite from ‘The Golden Cockerel’ 27:52 Edwin Paling leader CHAN 10369(2) X TT 77:47 Neeme Järvi CHAN 10369(2) X

p 1984 Chandos Records Ltd This compilation p 2006 Chandos Records Ltd Digital remastering p 2006 Chandos Records Ltd © 2006 Chandos Records Ltd Chandos Records Ltd • Colchester • Essex • England

CCHANHAN 10369(2)X10369(2)X Inlay.inddInlay.indd 1 115/3/065/3/06 13:37:1113:37:11