The History of the Russian Guitar: Volume I
Mårten Falk (guitar)
rec. 2020, Församlinghuset, Limhamn, Malmö, Sweden
DB PRODUCTIONS DBCD206 [54]
The Russian seven-string guitar is a curious instrument. We learn from Dr. Oleg Timofeyev's substantial liner notes that it was the result of a hybridisation between the English guitar (a cittern-like instrument played with a plectrum) and the Spanish guitar. In the late eighteenth-century both were popular instruments across Europe, though the Spanish guitar would soon eclipse the English guitar. In Russia, however, these two instruments cross-bred, creating a guitar with physical characteristics similar to the Spanish guitar, but with a seven-string open-G tuning like the English guitar.
The instrument thrived in the nineteenth-century, yet by the time of the Soviet Union it had become thoroughly obscure. It began to be rediscovered towards the end of the twentieth century. The premiere recording of Russian guitar music was made in 1986 by the Danish guitarist Leif Christensen. In the decades since this music has been slowly but surely gathering more interest. It is at least as good as nineteenth-century guitar music written in the rest of Europe. Indeed, there was evidently cross-pollination between the two guitar traditions, with transcriptions of music by Fernando Sor and Mauro Giuliani appearing for the Russian instrument. Dr. Timofeyev writes that the Russian guitar is ‘a perfect illustration' of how 'the decades when Russia considers itself a part of Europe correspond with the flourishing of instrumental music in this country.' A timely album, then.
This is the first volume of three. It focuses on the first generation of composers for the Russian guitar, born between 1766 and 1801. They are presented chronologically; this album very much follows its title, as a ‘History of the Russian Guitar’. The music ranges from short etudes and preludes, which make up most of the album, to more ambitious works such as theme-and-variations and a fantasia.
The etudes and preludes are pleasant pieces that never overstay their welcome (most are under two minutes). For the most part they will not be more than a passing interest to general listeners, but many guitarists, as well those who are curious about this corner of musical history, will, I’m sure, feel their charm. Mårten Falk plays with such expression and character and grace that he makes these pieces seem more than they are.
I particularly enjoyed the preludes by Mikhail Vysotosky (1791-1837), which have a free, informal character. The etudes by Andrei Sychra (1773-1850) stand out as the best – in fact, all four pieces by Sychra stand out on this album. His seven-minute Fantaisie is a beautiful and unusual work. On first listen, I was drawn in by its gentle sense of movement and attractive theme, but was slightly confused by its apparent uneventfulness. On second listen, however, I noticed its subtle variations and development, and the instrumental techniques interestingly-used (harmonics and unison notes for example). It is not a dramatic piece or a grand theme-and-variations, like many other fantasias of the time, but something rather different and special.
There are other works worth noting. For example, the two variations, both around seven minutes long, showcase the instrument and its expressive potential. The better of the two is the strangely-named Variations on ‘Go Home, Dear Cow’ by Mikhail Vysotsky, which Dr. Timofeyev tells us in his booklet notes is actually a song about an abusive husband. The music is sad but noble, and the variations show a skilled understanding of harmony and counterpoint, as well demonstrating technical virtuosity.
This album is essential for any guitarist, and may well be of interest to those more broadly interested in neglected historical music. I can guarantee that nearly everyone listening to this album will be hearing music they have never heard before. The twelve pages of booklet notes are also an invaluable guide to this music. The recorded sound is good and full and captures the richness of the instruments well – Falk uses an 1860 guitar for most of the tracks, and a modern copy for the others. I greatly look forward to the next two volumes.
Steven Watson
Contents
Ignaz von Held (1766-1814)
Sonatina in G major
Polonaise
Andrei Sychra (1773-1850)
Etude in G minor
Etude mélancolique
The Little Ring (after Bakhmetiev)
Fantaisie
Semion Aksionov (1784-1853)
Etude in G major (after Steibelt)
Variations on 'People Blame Me'
Mikhail Vysotsky (1791-1837)
Prelude No 16 in B minor
Prelude No 20 in G minor
Prelude No 22 in G major
Variations on 'Go Home, Dear Cow'
Vladimir Morkov (1801-1864)
Capriccio (after Sychra/von Weber)
Etude 'Vivace' (after Giuliani)
Etude in C minor
Etude in G major
Prelude No 1 in C major
Prelude No 6 in B minor
Prelude No 22 in G minor (after Verdi)
Published: November 22, 2022
