Mikhail IPPOLITOV-IVANOV (1859-1935)
Piano Transcriptions
Caucasian Sketches, Suite No. 1, Op. 10 (1894) [18.50]
Armenian Rhapsody on National Themes, for orchestra, Op. 48 (1895) [5.53]
Prelude, from opera Ruth (1883-86), Op. 6 [3.50]
Turkish March, Op. 55 (1926) [4.08]
Caucasian Sketches, Suite No. 2 ‘Iveria’, Op. 42 (1896) [21.15]
Maria Ivanova, Alexander Zagarinskiy (piano four hands)
rec. 2019, Jesus-Christus-Kirche, Berlin-Dahlem, Germany
HÄNSSLER CLASSIC HC19039 [54.21]
This new Hänssler Classic release explores the piano music for four hands of Russian composer Ippolitov-Ivanov. Pianists Maria Ivanova and Alexander Zagarinskiy recorded the works in 2019, the one hundred and sixtieth anniversary of the composer’s birth. Although I am familiar with the orchestral versions of these works, this is my first encounter with these transcriptions which are, I believe, the composer’s own.
Graduating in 1882 at St. Petersburg Conservatory, Ippolitov-Ivanov was a composition student of Rimsky-Korsakov whose influence on the young composer was marked. Ippolitov-Ivanov, like his mentor, was a conservative composer firmly rooted in the folk music traditions of the Russian Empire, especially the music of Georgia. Ippolitov-Ivanov expounded these views during his time as professor of harmony, composition and orchestration at the Moscow Conservatory.
Pianists Maria Ivanova and Alexander Zagarinskiy were both born in Moscow and studied widely, notably at the Tchaikovsky Conservatory, Moscow, the Berlin University of the Arts, Mozarteum University Salzburg and Lübeck Academy of Music. It was in 2018 when the Ivanova-Zagarinskiy piano duo first came to my attention with their release of César Cui’s ‘Piano Transcriptions’ on Hänssler Classic.
Ippolitov-Ivanov is celebrated for his two suites of Caucasian Sketches from 1894 and 1896. Undoubtedly these are the most often encountered of his works and they open and close the programme on this album. From the Caucasus region between the Black Sea and the Caspian Sea, they are strongly influenced by Georgian folk music. For good reason the most popular movement is the Procession of the Sardar marked Allegro moderato - Tempo marziale from the Caucasian Sketches the First Suite No. 1 which, in a work here brimming with vivid tone colours, evokes the sense of movement as the Sardar (leader, prince) travels with his entourage. I’m especially fond of the Berceuse movement from the Second Suite entitled ‘Iveria’, a region of Eastern Georgia. It is an Allegretto with the duo creating a gratifying and mellow mood there and uplifting dance rhythms in the raucous and near breathless Lesghinka movement. I did wonder whether these transcriptions for piano four hands would, compared with the orchestral versions, reduce the appeal of the works, but they are lighter music of great charm and of course remain highly tuneful. Written in 1895, the Armenian Rhapsody on National Themes has a piquant Armenian flavour combined with a heavy sense of nostalgia. The Prelude from the opera Ruth (1883-86) with its rocking quality has only a reasonable appeal yet by contrast the Turkish March, a late work, is spirited and highly expressive and played here with utmost enthusiasm.
Full of delights and well characterised throughout, the playing of Ivanova and Zagarinskiy produces a vivid range of keyboard colour. Made at the renowned recording location of the Jesus-Christus-Kirche, Berlin-Dahlem the recording’s sound quality is most satisfying. The booklet essay written by Eckhardt van den Hooge is reasonably helpful but, as with most articles about this composer, I am left wanting to know more. At fifty-four minutes, the playing time is meagre but maybe that is the extent of the composer’s available transcriptions for piano duet. It’s a shame that other Russian works for the medium weren’t included to serve as a filler and to add to the album’s desirability.
These works for four hands piano are given engaging performances here; lovers of Russian music should snap up this album.
Michael Cookson
