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Alexander Gauk Edition – Historical
Russian Archives
see end of review for details
USSR State Radio
and TV Orchestras/Alexander Gauk
rec. 1944-1961, Moscow. BRILLIANT
CLASSICS 8866 [10 CDs: 688:32]
These Gauk-conducted rarities are gritty but often very listenable.
They draw you into the largely lost world of Soviet concert halls
and radio studios in the period 1944-61. Taken from broadcasts
- some with applause – they were made by the Soviet broadcasting
network and have been licensed to Brilliant by Gostelradiofund.
Aleksandr Vassilievich Gauk was born on 15 August (O.S. 3 August)
1893 and died 30 March 1963. Both conductor and composer, he was
chief conductor of the Leningrad Phil (1930-1934). He conducted
the orchestra and the Academy Capella Choir in the world premiere
of Shostakovich's Symphony No. 3 "First of May" in 1931.
He also resurrected Rachmaninov's discarded First Symphony from
the orchestral parts found in the archives of the Moscow Conservatory
after the composer's death in 1943. Gauk born in Odessa. He was
the teacher of Melik-Pashayev, Mravinsky and Svetlanov. At the
Petrograd Conservatory he studied composition and conducting with
Glazunov and Nikolai Tcherepnin. He succeeded Nikolai Malko, first
director of the USSR State Symphony in 1936 and director of the
All-Union Radio Symphony Orchestra in 1953. Gauk premiered Shostakovich's
ballets 'The Golden Age' and 'The Bolt'.
Many of the recordings included here are live so what you hear
is not the same article you may know from ancient LPs or in more
recent times the very few Gauk-centred issues such as his derided
Shostakovich Eighth Symphony issued on Russian Revelation.
Gauk, the teacher of Mravinsky and Svetlanov has come in for much
ad hominem criticism centred on his reputation as a Party
hack. The present set comes as part corrective and in the case
of the Spartacus suite part confirmation. To experience it you
must be prepared to accept some mono and a degree of unsophisticated
sound - though with little distortion. It’s much better than
you might fear and you are more likely to come away from the experience
with admiration for the Soviet engineers of that distant era.
There are real strengths amid this generous swathe of archive
recordings. These include the swell-chested brass and screechingly
idiomatic woodwind in the second movement of the Shostakovich
Fifth Symphony on CD1. Learn to love those harmonium-warbling
Russian horns in the finale of Shostakovich 5 at 3.33. Audience
coughs, shuffles and applause (often understated) are also to
be borne - I find them of negligible distraction value in the
face of some fascinating and fiery playing.
We also hear a sturdy Rachmaninov Three Russian Folk Songs
with a bubblingly gallic interplay of avian woodwind. Gauk's
stirringly raw Powder and Paint has real gypsy 'grunt'
and 'snort'. The same composer's Spring Cantata is taken
by Evgeny Kibkalo (bar) with lean and piercing power. This work
reminds us of the same composer's The Bells - one which
the composer loved among all his creations.
The Shostakovich 11 is tense and bristlingly atmospheric. Listen
to those resounding low pizzicatos in the third movement and the
carrion black-bleak brass in the Tocsin movement. However
do not expect the reserved applause to do anything to tell you
about the qualities of Gauk's version.
Rimsky's Song of Oleg The Wise offers yet more defiant
and unsubtle heroism and gruff militarism. It is mixed with moments
as unnervingly light as a Suppé overture. Enjoy this rare Rimsky
but brace yourself. Tarkhov, the tenor is magnificent with a real
erotic kick to his high notes. Where else have we heard Tarkhov?
I found many of the Spartacus pieces rather perfunctory.
While it is true that much of the material is kitsch on steroids,
derivative material on stimulants, it can and often does sing
with a more potent thrust than it gets here - even in the famous
Adagio.
Glinka's Premiere Polka is mordant and raspingly violent
in Gauk's hands - lots of attack with bone-china music-box qualities
admitted; all rather attractive. Then comes the strutting grandeur
of the Glinka Kamarinskaya.
Khachaturian's First Symphony is broodingly done as if Gauk is
urgently confiding a secret to the listener. The writing is full
of tense interest with that typical Armenian exoticism. This is
a big 43 minute statement of the eternal verities as befits a
symphony. Music that is magical and often orientally-tinged dewy
conveys a slowly oozing poetry. This can be contrasted with an
extravagant jerky ebullience in the finale which does dally just
a little too closely to bombast at the close. This after all has
always been a Khachaturian failing. Apart from a certain steely
shrillness the analogue sound is sympathetically put across.
Commercially Gauk recorded quite a bit of Khachaturyan including
the first two symphonies, the violin concerto with Oistrakh and
the Cello Concerto with Knushevitsky.
The Hummel-based Memory of Friendship is a supercharged
and romanticised version by Glinka of Hummel's Theme and Variations
in F major. At the other extreme is Glinka's crashing and
imperiously imperial Patriotic Song. It is all rather empty
but skilled of its type.
Myaskovsky's Symphony No. 17 is also one of five Myaskovsky symphonies
recorded by Gauk for Melodiya (11, 17, 18, 22, 27). This broadcast
is from 1959 almost a decade after the composer's death. It warms
up but this performance struck me as rather tottery. It just didn't
cohere as well as the passionate recording by Svetlanov. Things
improve for the excitement of the allegro poco vivace third
movement. Gauk is in general good at brooding which plays to one
of Myaskovsky's fortes. He is less effective in this case in the
more dramatic moments. Was age taking its toll? Even so Gauk does
pull things together for a final five minutes which spit fire
and flail with passion.
Soviet radio's engineers pull all the stops out for a very fine
recording of the cantata Flourish Mighty Homeland by Myaskovsky's
close friend, Prokofiev. It is here caught in a broadcast eight
years after the composer's death. The orchestral introduction
is cheery in the manner of the Classical Symphony then
comes a bristlingly possessed choral section. The idiom is rather
closely related to the positivism of the Seventh Symphony complete
with saxophone to close and in this case applause. Prokofiev's
Russian Overture flies along with all his brusque energy
as if from The Love of Three Oranges and here sounding
just a mite similar to Copland's ballets. The final few moments
have a raw trumpet-scarred elevation and rowdy complexity - very
stage-grand.
Nikolai Ivanov-Radkevich's similarly titled Russian Overture
was recorded in April 1944 but sounds much later. It is a
raucous supercharged fantasy on Russian dances.
Tchaikovsky caused confusion when over-titling a sequence of pieces
with the names of months The Seasons. Here we have Gauk
conducting his own orchestration of the twelve pieces. They are
presented not in chronological sequence so, for example, December
follows February and is succeeded by September.
Gauk does a respectable job of aping the Tchaikovsky orchestrational
signatures but is no slave to the principle. February clearly
looks forward to the early twentieth century. March - Song
of the Lark is occasionally almost Sibelian. However December
and the final piece, April follow the grand waltz manner
of Tchaikovsky's ballets. April ends in a gentle feminine
turning away into silence.
Balakirev's piano fantasy was orchestrated by Alfredo Casella,
amongst others including Lyapunov. Gauk adopts the Casella version
and holds this rhapsodic and mercurially exotic music together
far better than he was to do a couple of years later in the sessions
from Myaskovsky's Seventeenth Symphony.
Glazunov's Spring is a snow-jewelled picture in which ice
can be heard ripplingly melting off trees into stirring brooks
and streams. This is vintage Glazunov in the poetic manner of
The Seasons. Then comes the little Waltz op. 42
no. 3 - a brother to the waltzes in Nutcracker.
Arensky was an out-and-out Tchaikovsky-epigone; nothing wrong
with that. His March in memory of the great Russian marshal
Suvorov, has more fibre and sincere invention to it than many
a time-served state celebratory piece. This strangely pre-echoes
Walton's and Rawsthorne's ceremonial manner. The orchestration
of In the Fields is caramel smooth and soothingly sentimental.
Waltzes are a feature of disc 6 so it is fitting that after at
least three we should end with the orchestration of Arensky's
waltz in F major. It is swimmingly done by Gauk and the USSR State
Radio and TV SO.
CD 7 includes yet more rare Tchaikovsky - a feature of this set:
the Hamlet theatre music. The Overture with its roiling
discontent and drum-rolls uses similar material to his tone poem
on the same Shakespeare subject. There's some utterly superb music
here and it is no wonder that Tchaikovsky recycled it into the
tone poem; listen to the wraith music for the first and second
Moderato assai. The stately fanfaring of the allegro
vivo suffers some blasting distortion when loud. There are
two other fanfare passages in tracks 7 and 13. The andante
quasi allegretto has a more tender yet trembling quality.
The soprano (unnamed) in the Elsinore Mad Scene (tr. 10)
benefits from Tchaikovsky's ability to breathe hysteria into the
orchestral writing. The andantino introduces us to the
baritone who is slightly nasal in tone but who has a splendidly
sound vocal production. The Marcia is familiar and no wonder
- the metronome ostinato is the same as in the march from the
Fifth Symphony.
After the episodic but atmospheric progress of the Hamlet music
we come to the Fatum tone poem. Not one of Tchaikovsky's
glowing best but here done with passion in an astoundingly clear
and detailed recording from 1948. One can hear every detail including
creaks and page-turning. The music is made to burn on a high flame
from time to time as at 9:20. So it should, given that Fate was
one of the obsessively recurrent themes in Tchaikovsky's musical
and biographical progress.
Tchaikovsky's Snegourotcha or The Snow Maiden is
based on the play by Ostrovsky. The incidental music is something
of a rarity - at least in close to its full version. This 1951
recording sounds absolutely splendid. The music may broadly be
described as a fairytale fantasy in the same language as The
Nutcracker. It's prime Tchaikovsky. Alexander Orfenov is a
strong tenor with only a slightly vulnerability at the top of
his range. The Moscow Radio Chorus sing with plenty of vitality
in the Shrovetide Procession Chorus and the Chorus of
People and Courtiers. Their sound has that burning, burnished
nationalist quality. The second entr'acte has a rather watery
yet melancholically affecting clarinet solo. This is vintage Tchaikovsky
in the same broad territory as the ballet music - full of inventive
character. We also get to hear a great name Zara Dolukhanova -
listen to the final track.
For Melodiya Gauk recorded all four Tchaikovsky suites, symphonies
3, 6 and Manfred, the Violin Concerto with Oistrakh and
the Rococo Variations with Knushevitsky.
The Russians rather liked the Liszt symphonies and tone poems.
Golovanov recorded all the tone poems for Melodiya. A major swathe
of them were included in his Great Conductors of the Century
volume. Several of the great names among Russian conductors
have left us versions of the symphonies. Here to add to the picture
is Gauk's 1952 broadcast of the Faust Symphony - mercurial,
volatile, subdued and brilliant. The Mephistopheles finale
flies along in a vividly detailed cavalcade. This is the version
without chorus. Gauk is most alive in this fine performance in
the that final movement of the three.
The ninth disc in the set is rounded out with Dukas's L'Apprenti
Sorcier in a version which, complete with coughs and shuffles,
is rather scouted over and lacking in fantasy but not in a rather
furious sprinting angst; excellent recording quality though.
The last disc is also of non-Russian music. Gauk's Beethoven Coriolan
is angry and protesting - full of Revolutionary fervour. One can
imagine a Gauk Egmont might be similarly flammable. Mendelssohn's
Ruy Blas is sharply chiselled and gratingly dramatic -
a delight after a surfeit of smooth Mendelssohn. This takes us
to the dark side. Even the typically Mendelssohnian scherzo flies
on batwings and witchery. By now we should know what to expect
when we get to the thrashing that Gauk gives the Bizet Patrie
overture. Even when it relaxes into charm it is driven.
I did not know Casella's Italia but it is in a smiliar
vein of intention to Bloch's nationalist poems (America,
Helvetia). It is here given a vehement and luxuriantly
Wagnerian rush. It is to be noted that Gauk also used the Casella
orchestration of Islamey. Italia is more in the nature
of a restless tone poem with some pause for thought and reflection
in the still and silky violin writing at 5:13 onwards. Dark-eyed
Neapolitan carousing can be heard in the section from 9:00 onwards
and there are wild revels in the gale whipped up by Gauk in the
last few pages.
Enescu's Romanian Rhapsody No. 1 is well enough known but
Gauk coaxes a smile and folk flavour from the USSR State Radio
and TV Orchestra and the recording gives upfront emphasis to the
many solo lines. This delivers a wild rush to the music that draws
enthusiastic applause from the audience.
Milhaud's Suite Provençale is in eight raucously recorded
movements. The first and last are in a manner similar to the outward
flanking movements of the Moeran Serenade. These contrast
with the calm poetry of the Tres moderé and the other movements
which seem to catch the image of village band march-pasts. The
penultimate movement, Lent has a heavy Purcellian tread.
The sung words for this set are neither reproduced nor translated
in the booklet. The liner-notes - rather spotted with misprints
- hold the attention and carefully profile each work played. They
are by the eminent musicologist Ates Orga. We should hear more
from him.
The ten CDs come in the usual wallet case. Each is housed in its
own durable card sleeve which, on the reverse, lists the full
track and discographical details for the disc.
This Russian Archives series of boxes from Brilliant Classics
continues to have treasury status. The storehouse of Gostelradio
recordings must be vast. Brilliant have already collaborated with
them to issue volumes for Oistrakh, Rostropovich, Tretiakov, Gilels
and others. I hope that they will now explore issuing sets devoted
to Boris Khaikin, Rozhdestvensky, Golovanov, Konstantin Ivanov
and Fedoseyev. What about cutting the cake in another way? How
about looking out rare Russian symphonies or concertos and buildng
sets around that theme: there are some promising names out there
including Dzerzhinsky (his piano concertos), Shaporin (his 1933
symphony), Shtogarenko (concertos and symphonies) and the symphonies
of Boiko, Lokshin and Revutsky.
The present set has great strengths. It opens a casement on a
disdained figure whose musical reputation comes out of the experience
much stronger. If we choose to we can hear Gauk at last in very
respectable sound. The intensity of his music-making has a dash
of Golovanov about it and while Gauk could be uneven, when he
is on song - as in the Tchaikovsky works and the overtures (CD10)
- he has much delight and exhilaration to convey to today's listeners.
This is an attractive box which has been greatly enhanced by the
choice of repertoire made by the series compiler. Let's have more
of the same which allows us to hear musicians in the less often
frequented and in the unpredictable.
Rob Barnett
comment received:
Rob asks in his review of the Brilliant Gauk
set about the tenor Tarkhov. He sings the role of Grishka in the
Soviet complete "Kitezh" (once available on Lys cd's).
According to Bennett, he sings the role of Des Grieux in a Soviet
Manon Lescaut (never have seen or heard that recording). Best
Joel Grill (musiklas@aol.com)
Detailed Tracklist
CD 1 [71:47]
DMITRI SHOSTAKOVICH (1906-75)
Symphony No. 5 in D minor Op. 47
1. Moderato 15:19
2. Allegretto 4:53
3. Largo 13:26
4. Allegro non troppo
SERGEI RACHMANINOFF
3 Russian Folk Songs, for Chorus & Orchestra Op. 41
5. Across the River 4:01
6. O Vanya, you bold fellow 5:05
7. Powder and Paint 3:39
USSR State Radio & TV Symphony Orchestra & Chorus
Evegeny Kibkalo, baritone
CD 2 [72:50]
DMITRI SHOSTAKOVICH (1906-75)
Symphony No. 11 in G minor Op. 103, “The Year 1905”
1. Adagio, “The Palace Square” 14:23
2. Allegro “January” 17:27
3. Adagio, “In Memoriam” 12:01
4. Allegro non troppo, “Tocsin” 14:01
NIKOLAI RIMSKY-KORSAKOV (1844-1908)
5. The Song of Oleg the Wise Op. 58 (Pesn’ o veshchem Olege),
for 2 male voices, men’s chorus & Orchest 14:55
USSR State Radio & TV Symphony Orchestra (1-4)
Small Symphony Orchestra & Male Chorus of the All-Union State
Radio (5)
Dmitri Tarkhov, tenor (5)
Konstantin Polyaev, bass (5)
CD 3 [64:44]
ARAM KHACHATURIAN (1903 - 1978)
SPARTACUS, Suite
1. Introduction and Dance of the Nymphs 5:15
2. Introduction, Adagio of Aegina and Harmodius 5:04
3. Variations of Aegina and Bacchanalia 3:21
4. Scene and Dance with Crotala 3:57
5. Sword Dance of the Young Thracians 1:54
6. Spartacus proclaimed Leader 2:48
7. Death of the Gladiator 4:41
8. The uprising of the slaves 3:37
9. Via Appia and Dance of the Shepherd and Shepherdesses 3:11
10. Adagio of Spartacus and Phrygia 9:05
11. Dance of the Gaditanian Maidens and Victory of Spartacus 6:40
MIKHAIL GLINKA (1804-57)
12. Premiere Polka, in B flat major 6:46
13. Kamarinskaya 6:28
Bolshoi Theatre Orchestra (1-11) • Grand Symphony Orchestra (12)
USSR State Radio & TV Symphony Orchestra (13)
CD 4 [59:50]
ARAM KHACHATURIAN (1903 - 1978)
Symphony No. 1 in E minor
1. Andante-maestoso con passione-allegro ma non troppo 18:52
2. Adagio sostenuto 12:25
3. Allegro risoluto 11:08
MIKHAIL GLINKA (1804-57)
4. ”Memory of Friendship”,Theme & Variations on Nocturne in
F major of Johann Nepomuk Hummel 15:28
5. Patriotic Song 1:53
CD 5 [75:39]
NIKOLAI MYASKOVSKY (1881-1950)
Symphony No. 17 in G sharp minor Op. 41
1. Lento-allegro molto agitato 16:50
2. Lento assai-andantino ma non troppo 13:44
3. Allegro poco vivace 5:06
4. Andante-allegro molto animato 9:53
SERGEY PROKOFIEV (1891-1953)
5. Flourish, Mighty Homeland Op. 114, Cantata for Chorus &
Orchestra 7:26
6. Russian Overture Op. 72 13:04
NIKOLAI PAVLOVICH IVANOV-RADKEVICH (1904-62)
7. Russian Overture
CD 6 [74:07]
PYOTR IL’YICH TCHAIKOVSKY (1840-93)
The Seasons, 10 excerpts, Op. 37
1. No. 1 January, At the Fireplace 7:07
2. No. 2 Fabruary, Carnival 2:58
3. No. 12, December,Christmas 5:16
4. No. 9, September, Hunting Song 2:51
5. No. 3, March, Song of the Lark 1:45
6. No. 6, June,Barcarolle 5:19
7. No. 7, July, Song of the Reapers 2:02
8. No. 10, October, Autumn Song 4:41
9. No. 11, November, Troika 2:54
10. No. 4, April, Snowdrop 3:30
11. MILI BALAKIREV: Islamey (orchestration Alfredo Casella) 8:46
ALEXANDER GLAZUNOV (1865-1936)
12. Spring, Musical Picture in D major Op. 34 9:59
13. Waltz in D major Op. 42 No. 3 3:46
ANTON STEPANOVICH ARENSKY (1861-1906)
14. March, in memory of Suvorov 4:43
15. In the Fields, from: Characteristic Pieces for Piano, Op.
36 No. 24 4:46
16. Waltz in F major, from: 6 Children’s Pieces Op. 34 3:34
CD 7 [58:51]
PYOTR IL’YICH TCHAIKOVSKY (1840-93)
HAMLET, incidental music for soprano, baritone & orchestra,
Op. 67a
1. Overture 9:38
2. Moderato assai 1:24
3. Allegro vivo 0:22
4. Moderato assai 0:31
5. Allegro giusto ed agitato 3:19
6. Allegro semplice 3:21
7. Fanfare 0:24
8. Andante quasi allegretto 4:27
9. Andante non troppo 6:36
10. Andantino “Elsinore”, Mad Scene 2:48
11. Andantino 0:55
12. Marcia, moderato assai 4:48
13. Allegro giusto 0:22
14. Allegro risoluto ma non troppo 0:50
15. FATUM, Tone-poem for orchestra Op. Posth. 77 18:56
CD 8 [70:10]
PYOTR IL’YICH TCHAIKOVSKY (1840-93)
SNEGOUROTCHKA, SNOW MAIDEN, incidental music to the Ostrovsky
Play, Op. 12
1. Introduction 5:15
2. Bird’s Choir & Dance 7:16
3. Monologue of Frost 4:04
4. Shrovetide Procession Chorus 6:24
5. Melodrama 2:09
6. 1st Act Entr’acte 1:31
7. 2nd Act Entr’acte 2:57
8. Choir of the Blind Gusli-players 5:07
9. Melodrama 4:12
10. Chorus of People & Courtiers 2:35
11. Girl’s Round Dance 4:16
12. Dance of the Tumblers 4:21
13. Brusillo’s Song 2:01
14. Appearance of the Forest Spirit and Apparition of the false
Snow Maiden 0:50
15. 3rd Act Entr’acte 2:45
16. Declamation of the Fairy of Spring 6:05
17. Tsar Berendey’s March and Choir 6:10
18. Finale 2:06
CD 9 [68:38]
FRANZ LISZT (1811-86)
Eine Faust-Symphonie/Faust Symphony, version without chorus
1. Faust 25:00
2. Gretchen 16:19
3. Mephistopheles 16:22
PAUL DUKAS (1865-1935)
4. L’apprenti sorcier (The Sorcerer’s Apprentice) 10:53
CD 10 [71:56]
1. LUDWIG VAN BEETHOVEN: Overture Coriolan 8:16
2. FELIX MENDELSSOHN: Overture Ruy Blas 7:18
3. GEORGES BIZET: Patrie, Overture Op. 19 11:15
4. ALFREDO CASELLA: Italia, Rapsodia per orchestra 18:07
5. GEORGE ENESCU: Romanian Rhapsody No. 1 11:16
DARIUS MILHAUD (1892–1974)
6. Animé 1:36
7. Tres moderé 1:49
8. Moderé 1:54
9. Vif 1:09
10. Moderé
11. Vif 1:02
12. Lent 2:10
13. Vif 4:13
Alexander Gauk, conductor
USSR State Radio & TV Symphony Orchestra & Chorus a.o.
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