Anton Arensky (1861-1906)
Orchestral Works
Symphony No. 1 in B minor, Op. 4 (1883)
Cantata on the Tenth Anniversary of the Coronation, Op. 26 (1893) *
Fantasia on Themes by I.T. Ryabinin, Op. 48 (1899) **
Variations on a Theme by Tchaikovsky, Op. 35a (1893)
Three Vocal Quartets, Op. 57 (1901) @
Tatiana Sharova, soprano *
Andrei Baturkin, baritone *
Tatiana Polyanskaya, piano **
Dmitri Miller, cello @
Russian State Symphonic Cappella * @
Russian State Symphony Orchestra
Valeri Polyansky, conductor
Recorded at Moscow Conservatory Grand Hall, December 2001
Released July 2003
Chandos 10086 [73:04]
Symphony No. 2 in A major, Op. 22 (1889)
Overture to "A Dream on the Volga", Op. 16 (1891)
Introduction to "Nal and Damayanti", Op. 47 (1904)
Suite No. 3 - "Variations in C major", Op. 33 (1894)
Intermezzo for Orchestra, Op. 13 (1882)
BBC Philharmonic Orchestra
Vassily Sinaisky, conductor
Recorded at New Broadcasting House, Manchester, April 2002
Released January 2004
Chandos 10024 [66:25]
Suite No. 2 - "Silhouettes", Op. 23 (1892)
Suite No. 1 in G minor, Op. 7 (1885)
Suite No. 3 - "Variations in C major", Op. 33 (1894)
Moscow Symphony Orchestra
Dmitry Yablonsky, conductor
Recorded at the Mosfilm Studio, Moscow, October 1995
Released November 2003
Naxos 8.553768 [76:23]
Anton Arensky is a rather peripheral figure in the classical music
world, but in the last few months at least three new discs devoted
to his orchestral music have been released. Perhaps this will be the
beginning of a surge in Arensky's popularity, because the three fine
recordings being reviewed represent excellent advocacy of Arensky's
music.
In terms of musical style, Arensky most aligned himself with Tchaikovsky.
This fact alone has likely not been kind to Arensky's reputation. Why
settle for round steak when you have tenderloin on hand? Yet, Arensky
is not a Tchaikovsky clone if for no other reason than his more moderate
personality which insures a lack of over-wrought emotional draining.
Arensky's music is excellently crafted with natural flows and logical
musical arguments. Concerning emotional content, he offers a fairly
wide range that does exclude digging deep into the human psyche. Melodies
are attractive and often compelling. Arensky's most impressive trait
is his flair for orchestral writing; he uses the orchestra's resources
expertly and creates a panorama of colours. For the most part, we are
talking about a strong 2nd tier romantic-era composer who sometimes
aspires to higher ground.
Among Arensky's 'higher ground' compositions is the Suite No. 3 that
is programmed by both Chandos and Naxos. This work is a "Theme and
Variations" that is highly effective at offering an ample range of musical
styles and emotional content. Having nine variations, the piece began
life as a suite for two pianos. The opening theme is an Andante of
poignant nature, and the 1st Variation, titled "Dialogue", conveys an
amicable conversation between the strings and woodwinds. After the 2nd
Variation's dellightful and elegant Russian waltz, the 3rd Variation is
all military pomp in the manner of wind band music.
Moving along, the Minuet of the 4th Variation is a major highlight
of the Suite - so delicate, pristine, and playful. The 5th Variation
presents a severe Gavotte of ceremonial proportion, and a carefree Scherzo
constitutes the 6th Variation. The work then turns toward the serious
side with the 7th Variation's Funeral March that reflects the dual
elements of tragedy and honor. The 8th Variation, a Nocturne, initially
took me by surprise with the piano discreetly singing a swaying refrain;
this was an excellent surprise. The final variation isn't as much
surprising as it is majestic, representing the best of Russian Wind Band
music. At its conclusion, I'm ready to proudly enlist on any country's
behalf. This is definitely Arensky at his best.
Both Yablonsky and Sinaisky excellently conduct Suite No. 3. Yablonsky
is the more serious of the two and also more severe. Sinaisky does
better in conveying Arensky's exuberance. I would be hard pressed to
choose between the two versions, and the 9th Variation well reflects my
indecision. Sinaisky is so energized and proud; I love the reading.
Yablonsky takes sharp stabs at the music, giving us a litttle dose of
the harsh realities of war. Both performances are wonderfully effective
in their respective approaches.
Continuing on with Arensky's Suites, I don't have quite as much
affection for the Suite No. 2 but a few of the pieces are exceptional.
This Suite, also originally composed as a suite for two pianos, has five
movements and begins with "The Scholar". Arensky gives us a used-up
scholar in torment over his past failures that will never be rectified;
a charming and energetic fugue is injected for contrast. Then comes
"The Coquette" with its shy and coy personality in the form a waltz.
The Suite ends with "The Dancer", a compelling Spanish-type dance.
I suppose that Suite No. 1 has its virtues, but it disappoints in
comparision to the other two Suites.
Yablonsky's disc is the only one I know of that has the three Arensky
Suites, and his is a fine choice for those who want the three in one
package. From my perspective, Suite No. 3 and "The Scholar" and "The
Dancer" from Suite No. 2 are essential Arensky. Add in the very low
Naxos price, and I strongly recommend the recording.
At this point, I'll go back to the Sinaisky disc that has three short
pieces and the Symphony No. 2 in addition to Suite No. 3. Each of these
works is of high quality, and the performances have greater opulence
than the Yablonsky disc.
The Overture to "A Dream on the Volga" is a stunning piece with two
wonderful themes. The first theme is celebratory and even enters the
world of the pompous; regardless, the melodies are captivating. The
second theme just might be the most beautiful music Arensky ever wrote;
the melody line is in the high strings, then repeated by the oboe. It's
a masterful stroke showing Arensky at his best. Actually, this Overture
is a great example of Arensky's knack to expertly use the orchestra's
resources/colours and his command of musical architecture to create a
logical and natural-sounding work. He is an orchestral "pro" in every
sense of the word.
Arensky wrote his final opera "Nal and Damayanti" based on a libretto
by Modest Tchaikovsky, brother to the famous composer. It's an heroic
story of good over evil, and the Introduction gives us a capsule of all
the action that includes the Gods descending to Earth and a 'perfect
storm'. Arensky has shimmering strings conveying the descent of the
Gods, and the effect is sublime. He also whips up a good storm, although
I would have preferred it to last longer. As with the Overture to "A
Dream on the Volga", Arensky's orchestral magic is on full display.
The Intermezzo for Orchestra is a very short 3-minute piece not connected
with an opera; it was dedicated to the Moscow Musical Circle and is in
ABA form. The first section is a Presto with trembling strings scurrying
about, while the second section is confident and dignified. The Intermezzo
doesn't have the lyrical beauty of either the Overture or the Introduction,
but the scurrying strings sure are sneaky.
That leaves us with Arensky's Symphony No. 2 in A major that continues
the excellence of the program. There are two features that stick in
the mind, one structural and the other musical. The 1st Movement's
recapitualtion is absent until it becomes the 4th Movement Finale. On
the musical side, the 3rd Movement Intermezzo is an enchanting piece
with its dance-like rhythms and spring that create a delightful sense
of motion through time.
This Sinaisky disc is a winner from start to finish. He is more exuberant
than Yablonsky and also brings out a wider array of the orchestral
colours. With a rich and clear sound, Sinaisky and the BBC Philharmonic
do Arensky proud.
The last disc is the most varied of the three with vocal soloists and a
chorus added to the mix. A couple of weeks ago I read a review of both
Arensky/Chandos discs that took the position that Sinaisky and the BBC
Philharmonic are significantly better than Polyansky and the Russian
State Symphony Orchestra. Frankly, I don't hear a major Sinaisky edge,
but he does have the advantage of performing the much better symphony
(No. 2).
Arensky composed his Symphony No. 1 in B minor just one year after
graduating from the Moscow Academy, and the lack of maturity shows
throughout the work. The writing is less fluid than in his 2nd Symphony
as there are some moments when the music sags and and a sense of noodling
takes place. The work has flashes of brilliance, but the 2nd Symphony
and every other work on the three discs being reviewed are much better.
Since the 1st Symphony takes up almost half of the disc space, its
inclusion on the Polyansky program does damage the disc's appeal. That's
a shame, because the other works on the program are highly rewarding.
One of those highly rewarding works is the Cantata on the Tenth
Anniversary of the Coronation in honor of Alexander III. Naturally,
this is a ceremonial piece, and it's quite uplifting. The Chorus sings
splendidly and with complete empathy for the cause. The two short vocal
solos are sung well, although neither Sharova nor Baturkin commands
attention; Sharova has the usual Slavic wobble which is a dubious gift
that keeps coming.
The Fantasia for Piano and Orchestra is my favorite work on the disc.
The first section features a highly lyrical and lovely theme that is
contrasted by the second section's energetic march; this is a great march
that even has sublime and hushed tones. Adding to the pleasures is the
fine playing of Tatiana Polyanskaya who applies a fine tension to the
proceedings. The Variations on a Theme by Tchaikovsky is Arensky's most
popular composition, having seven variations and a coda. There's plenty
of variety of expression and structure, although the early variations
don't stray far from the Theme.
The Three Vocal Quartets, based on the words of Afanasy Fet, are
distinctive in having a four-part choir and solo cello. Arensky makes
this an enchanting combination, and the choir is exceptional. The 1st
Quartet, "Serenade", is poignant but of positive mood, while the 2nd
titled "To the dying Stars" is melancholy and often bleak. Last is
"The Hot Spring" of confident personality with the cello expressing
the movement of the water. Although cellist Dmitri Miller contributes
strongly to the two previous Quartets, he conveys more of the buzzing
of insects than the burbling of water in the 3nd Quartet.
Polyansky and his orchestra perform admirably throughout the program,
although they do not highlight Arensky's colours as vividly as Sinaisky
and company. Recorded sound is exceptional and does justice to Polyansky's
sharp brass and phrasing.
Don's Conclusions: Each of the three recordings has much to offer. First
choice has to be the Sinaisky disc that has the most consistently excellent
music and best tells us why Arensky is considered a master orchestrator.
Second choice is the Yablonsky disc of Suites, while the Polyansky holds
up the rear mainly due to the less rewarding Symphony No. 1.
My best advice for those interested is to pick up both the Sinaisky and
Yablonsky recordings. If you haven't had your fill of Arensky after
listening to these two discs, the Polyansky is always waiting in the
wings.
Don Satz
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