Like a recent Guild
release of Lithuanian chamber music
(Vėl
– GMCD 7283, that I reviewed
here some time ago), the present
release explores unfamiliar repertoire,
in this case Georgian music by two senior
Georgian composers and by one of their
younger colleagues.
Both Sulchan Nassidse
and Sulchan Zinzadse (also sometimes
transliterated as Tzintzadse) belong
to the same generation as Boris Tchaikovsky.
This is the generation situated – historically
and stylistically – between that of
Shostakovich and that of Denisov, Gubaidulina,
Silvestrov, Schnittke and Kancheli,
the latter also from Georgia.
Nassidse’s attractive
Chamber Symphony No.3
written for this orchestra is indebted
to Shostakovich. It is a compact work
in one movement, falling into four neatly
contrasted sections played without a
break. After a declamatory introduction,
the first section unfolds in a contrapuntal
way in a rather subdued manner. It leads
into the more energetic two-fold central
section (Allegro – Piu vivo)
over which Shostakovich’s shadow looms
large. The music gathers considerable
momentum through heavily pounding ostinatos
of grinding energy. The tension is eventually
dispelled in the long slow final section
that nevertheless ends rather ambiguously
with a last unresolved question mark.
In spite of its concision, Nassidse’s
Third Chamber Symphony is a substantial
work that repays repeated hearings.
Now, I wonder what his other works sound
like.
Nassidse’s close contemporary
Sulchan Zinzadse composed a substantial
output including four symphonies, several
concertos and twelve string quartets
that are regarded as the backbone of
his entire output. His Miniatures
for string quartet were written at various
periods of the composer’s career. The
version for string orchestra heard here
was made by the composer. What we have
here is a selection from his many miniatures
for strings. A few more have been recorded
by the Ostrobothnian Chamber Orchestra
conducted by Juha Kangas (Ondine ODE
766-2). Many of them are unrecorded
at the time of writing, at least in
CD format. As may be expected, all these
pieces are fairly short. Zinzadse’s
arrangements are superbly and subtly
done, so as to preserve the original
simplicity of the folk tunes. These
are variously dreamy, tender, joyfully
boisterous and bouncing with energy.
My own favourites are the lovely romance
Suliko, Mtskemsuri ("Shepherds’
dance") and the delightfully catchy
Zoli gamididgula ("The nagging
wife") that brilliantly rounds
off this generous selection from Zinzadse’s
Miniatures; a jolly, rumbustious
conclusion to this very fine release.
Framed by the older
composers’ works comes Loboda’s substantial
Concert Ballade for violin,
cello and chamber orchestra (i.e. strings,
bassoon, flute and celesta). The insert
notes give no information at all concerning
the composer whose name is entirely
new to me. Neither does the composer’s
own lapidary note tell much about the
piece; much is left to one’s imagination.
The piece as a whole is a bit of a puzzle.
For once, it is stylistically uneven.
The odd-numbered movements are generally
much more coherent, stylistically speaking,
whereas the even-numbered movements
lean more towards a sort of polystylism
à la Schnittke, the long
final Passacaglia particularly so. Were
I not in doubt as to the composer’s
sincerity, I would say that the music
verges on pastiche or parody. The music
sometimes brought Schnittke’s Suite
in Old Style to mind. Summing-up:
a substantial, uneven and often intriguing
piece.
In short, this is a
very interesting release with much fine
unfamiliar stuff, played with affection
and commitment. It may be safely recommended
on the strength of Nassidse’s and Zinzadse’s
works.
Hubert Culot
The Georgian Chamber Orchestra-Ingolstadt/Markus
Poschner 
