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 this 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 St. Petersburg Conservatory, and the lack of maturity shows throughout the work. The writing is less fluid than in his 2nd Symphony as there are many moments when the music sags and nothing more than noodling takes place. Also, there isn't one great melody in this four movement work. Unfortunately, I must question the wisdom of leaving a recorded legacy for the 1st Symphony. It 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's time, its inclusion on the Polyansky program greatly damages the recording'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, the piece is ceremonial and uplifting. It also has short solos for baritone and soprano. Neither soloist commands attention, but the respective contributions are positive. As for the Chorus, it is full bodied and sympathetic to the cause. Don Satz [log in to unmask]