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Lydia Mordkovitchplays CHAN 10526 Lydia Mordkovitch plays Kabalevsky . Prokofiev . Volkonsky . Khandoshkin . Stravinsky (premiere recording) with Nicholas Walker & Julian Milford piano Russian Works for Violin / Viola Dmitry Borisovich Kabalevsky (1904 – 1987) 1 Improvisation, Op. 21 4:54 * © Lebrecht Music & Arts Photo Library Photo & Arts Music © Lebrecht premiere recording André Mikhaylovich Volkonsky (1933 – 2008) Sonata for Viola and Piano * 19:47 2 I Largo 4:48 3 II Allegretto quasi moderato 3:21 4 III Toccata. Allegro marcato 3:37 5 IV Apolalerion. A tempo di parte prima 8:01 Ivan Yevstafyevich Khandoshkin (1747 – 1804) Sonata in G minor * 26:03 6 I Marcia. Maestoso 7:31 7 II Allegro assai 4:41 8 III Andante con variazioni 13:51 Dmitry Borisovich Kabalevsky 3 Russian Works for Violin / Viola One of Russia’s first secular composers, Ivan directed ballets, served as first violinist in the Khandoshkin was born a serf in 1747 and orchestra and as the Empress’s court soloist, Sergey Sergeyevich Prokofiev (1891 – 1953) was principally active in the Imperial Court eventually becoming her Kapellmeister. In Five Pieces from ‘Cinderella’ * 18:43 based in St Petersburg. We have few hard 1785 he co-founded a musical academy in 9 I Waltz 6:34 facts about his career, but he was apparently Yekaterinoslav, but it failed after four years 10 II Gavotte 2:48 apprenticed in the court orchestra at the age and he returned to the Imperial employ. He 11 III Passepied 1:58 of thirteen, where he studied with one of the died in 1804. 12 IV Winter Fairy 4:26 violinists, an Italian named Tito Porta. At The Russian winter concert season was this stage of the country’s history, most of well-established under Imperial patronage 13 V Mazurka 2:57 the leading artistic personalities were from by the second half of the eighteenth century, outside Russia – notably from France, Italy and it was a magnet for European musicians, Igor Stravinsky (1882 – 1971) and Germany, whence Peter the Great had who would brave the huge distances, the 14 Chanson russe † 3:45 summoned the architects who designed cold, and the primitive conditions in order 15 Danse russe † 2:43 his great city for him at the beginning of to perform and be rewarded in St Petersburg TT 76:07 the eighteenth century. Italian music was and Moscow. Khandoshkin was able thus especially favoured: the joint concert-masters to hear and to compete with many of the of the orchestra were also Italians, Domenico leading violin figures of his day, such as Viotti, Lydia Mordkovitch violin/viola dall’Oglio (a pupil of Tartini) and Pietro Peri, Pugnani and the Tartini-pupil Antonio Lolli – Nicholas Walker piano * and they were major influences on the young a violin showman whose feats anticipated † Julian Milford piano Khandoshkin. When Catherine the Great – those of Paganini – as well as Karl Stamitz German by birth and a lover of Italian opera – and Ludwig Spohr. In addition to her taste disposed of her husband Peter III and took for Italian opera, the Empress was anxious Lydia plays a violin by Antonio Stradivari, Cremona 1699 ‘Kustendyke’, the throne for herself in 1762, she retained to downplay her German origins and and a viola by C.F. Landolfi, Milan 1760, both on loan from the Royal Khandoshkin in the Imperial orchestra. actively promoted Russian song and dance. Academy of Music. He taught for a while at the St Petersburg Dall’Oglio included Russian folk tunes in Academy of Arts which opened in 1764, some of his works for the court orchestra, 5 4 but Khandoshkin, as a native Russian, had a several fantasies on Russian folksongs on a Russian theme that is highly ornamented stratum of the music. Stravinsky and Dushkin special affinity with this material and made with viola or bass accompaniment, and six even on its initial statement. Moreover, in made their arrangement in April 1932. The a specialty of virtuoso embellishment of unaccompanied violin sonatas, apparently this statement and the ensuing six variations opera buffaMavra , based on a short story by Russian songs. (His works in this vein have the only Russian examples of this form before Khandoshkin can be heard to be referring Pushkin, was composed over a decade after been claimed as the earliest ‘folk-derived’ the twentieth century. It has been suggested back to the opening Marcia movement, with Petrushka, in 1921-22. In the meantime compositions in European music, although that Khandoshkin may not have known the its dotted rhythms and elaborate decoration. Stravinsky had undergone a series of stylistic Scottish composers had been exploiting solo sonatas of J.S. Bach but was familiar with The theme is reharmonized, decorated, transformations including the ‘primitivism’ their national airs in a similar way since the those of the French violinist-composer Isidore carried in the violin’s plangent lower register, of Le Sacre du Printemps and the emergence beginning of the eighteenth century.) Such Bertheaume (1752? – 1802), who was active in involved in double-stopping and in vigorous of the ‘neo-classical’ idiom. In Mavra he was Khandoshkin’s reputation – and so St Petersburg during Khandoshkin’s lifetime. ostinato patterns. These variations provide a returned to a Russian source of inspiration scanty the facts about him – that many later Khandoshkin’s sonatas combine brilliant fitting conclusion to a remarkable work. but more in the manner of Tchaikovsky, compositions or pastiches in eighteenth- violin technique, strong expressivity, and Igor Stravinsky was a pianist, not a whose music he had previously spurned. The century style were attributed to him right up sometimes capricious invention with violinist, and virtually all his compositions ‘Russian Maiden’s Song’ – originally an aria to the Soviet era (during which the composer asymmetrical forms and phrasing. The Sonata for violin date from the 1930s, springing for the heroine Paracha, who is wooed by her Michael Goldstein is said to have passed off in G minor is the most substantial of them. directly from his friendship with the young soldier-lover disguised as a maid called Mavra – several of his own works as by Khandoshkin). Instead of a Bachian Prelude, Khandoshkin violinist Samuel Dushkin, for whom he was transcribed by Dushkin and Stravinsky Khandoshkin’s authenticated works are opens with a March marked Maestoso that wrote his Violin Concerto. Stravinsky and in April 1937. notable for their unique blend of European features expressive suspensions, vigorous Dushkin also collaborated on several violin/ Viewed as a rival to Stravinsky in the schooling and Russian sensibility. His dotted rhythms, appoggiaturas, chromatic piano transcriptions of numbers from the period around World War I for his music’s violin idiom includes a wealth of the most harmony, and florid melodic turns. The composer’s earlier works, and we hear two similarly uncompromising modernism, demanding techniques of the period, such as second part of the binary structure introduces examples of these, each from a score in which Sergey Prokofiev followed him into exile double-stops, rapid scales, ornamentation, chords in majestic quadruple-stopping, and Stravinsky strongly proclaimed his Russian in Western Europe but eventually returned wide leaps skipping across the strings, the music modulates to D minor. The first identity. Petrushka, his second ballet for Serge to live in the USSR from the early 1930s. furious arpeggiated patterns, bariolage theme of the second movement (Allegro assai) Diaghilev’s Ballets Russes, was composed He viewed Cinderella, his second large- (contrasting the different sonorities of combines an energetic ostinato motive with a 1910-11 and is set in the Shrove-tide Fair at scale ballet composed in Soviet Russia, open-string and stopped notes), and so on. descending series of sixths. This is contrasted St Petersburg in the 1830s, presenting almost as a follow-up to the success of his Romeo He also had a tendency to concentrate on against a repetitive up-bow staccato figure, a cross-section of the lower end of Russian and Juliet. Cinderella was commissioned the rich and melancholy lower register of creating a brilliant, toccata-like movement. society. The ballet had evolved out of sketches by the Kirov Ballet in 1940, to a scenario the instrument, rather than on its brilliant The most absorbing of the three movements for a work for piano and orchestra, and the by Nikolai Volkov. Though the principal higher tessitura. Among his works are is the finale, an Andante con variazioni based ‘Russian Dance’ belonged to this oldest story was drawn from the famous fairy-tale 6 7 by Perrault, Prokofiev wanted to adapt the including three orchestral suites, three sets of condemned and threatened, Kabalevsky – of high aristocratic lineage (he could claim Cinderella story in the style of a specifically piano pieces, and a work for cello and piano. at first included on the list of those to be remote kinship with several of the Tsars). Russian kind of fairy-tale, and introduced TheFive Pieces from ‘Cinderella’for violin and condemned – was able to extricate himself Talented even as a child, he played to the a host of sprites and fairies as subsidiary piano are in fact ‘re-transcriptions’ by Mikhail from criticism. Instead he prospered and likewise-exiled Rachmaninoff and studied characters. The music of the ballet is rich Fichtenholz of five of Prokofiev’s Ten Pieces rose high in the hierarchy of the Soviet with the great Dinu Lipatti. In 1947 and complex, and despite its reputation as from ‘Cinderella’for piano, published as his Composers’ Union; it has been rumoured he Volkonsky’s parents returned to Russia and he a ballet for children it has a sophistication, Op. 97. was principally responsible for the continuing studied at Moscow Conservatory as a pupil of and a darker side, that make it suitable for Dmitry Kabalevsky was born in humiliation which Prokofiev endured until Vissarion Shebalin, but was expelled in 1954 any adult audience.
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