Thrw Russian Songs
Thrw Russian Songs Thrw Russian Songs
symphony No. 2 Thrw Russian Songs Valeri P~Iyans
- Page 3 and 4: Sergey Rachmaninov (1 873-1 943) Sy
- Page 5 and 6: . . I hjs thcrnc is heard 3r oncc ~
- Page 7 and 8: VJadimir Spivakr,v and Zuhin Mrhm.
- Page 9 and 10: kennzeichnct, ist Yuln Teil auf sci
- Page 11 and 12: Staacsrinfonie-CappcIla umbenannr,
- Page 13 and 14: Rachrnaninov: Symphonic no 2ITrois
- Page 16: "G~ridc d'Arr/z.o", ell Iralie. C'c
- Page 19 and 20: l'hree Russian Songs t. Chcr 11ic *
- Page 22 and 23: FI il n press6 mn mains hlnnchcs am
- Page 24 and 25: Russian Stare Symphony Orchestra an
- Page 26 and 27: \Ye would likc to kccp vnu itifortn
symphony No. 2<br />
<strong>Thrw</strong> <strong>Russian</strong> <strong>Songs</strong><br />
Valeri P~Iyans
Sergey Rachmaninov (1 873-1 943)<br />
Symphony No. 2, Op. 27<br />
in E nllnor. e-h4oll . mi rnineur<br />
I Largo -Allcgm nod era to - Modcrarv<br />
11 Allegro rl~olro<br />
1 I Ad~gio<br />
1V Allepru vivace<br />
Thrce <strong>Russian</strong> <strong>Songs</strong>, Op. 41'<br />
1 Ovrr rhr srream, thc sw~ft strcdm<br />
El 2 Ah, Vanka, you arc so dxqhing<br />
3 My chccb, so ~vhi~e, so rosy'<br />
<strong>Russian</strong> State Symphonic Cappella*<br />
<strong>Russian</strong> State Symphony Orchestra<br />
Valeri Polyansb
Rachrnaninox Symphony No. 21Tkee <strong>Russian</strong> <strong>Songs</strong><br />
-<br />
By the ycar 1906, Racltrnanit~ov waq, at the<br />
age or rhirtyrhree. a lending figure in<br />
Kuss~an mtisi~al lik His hrnr 2% B cotlcrrl<br />
ni~nist nieanr rlrar he was in continual<br />
demaod, and this, togcthrr with h~s position<br />
as cundrlctor or the Imperial Opela In<br />
Moscow, !ek him little tlme for crcatlvc<br />
Syn~phot~y. Walk on th~s had begun In<br />
Kussi3, In characterist~c secrecy and hy<br />
Felxuary 1907 Rachmat~lnov was aldc to<br />
write ro a friend that ~t was now complctc<br />
in skctrh form, and liari hern for a mor~th.<br />
However, a leak In a <strong>Russian</strong> newFsl>~per<br />
now compcllcd him tu admit thc facr, as he<br />
work. A~cord~ngI~ tkc rlrcitird In u~irl~dtau~ setrlrd dnwn m irs orchesrrarioll.<br />
not only Lorn concert activity, bu~ IISQ<br />
from thc busy musical and su~ial sccnc, so<br />
as to devote Ilimqelf to cotnpo~irion.<br />
'rhe Sym~hvny is testimony to In<br />
unrist~ally prolific period in Rachmanit~uv's<br />
career, one that also saw the conlpobitlon of<br />
Cancelling all his engagements, which in 2% Lfc of the lkd and thc Op. 28 Piano<br />
any LXC. the turlulcnt puliricdl situation it1<br />
the wake of rhe 1905 Re\-olurion and<br />
subsequenr mass deportatrons had made<br />
un~crtain, hc sct oft wlth his Kamily Tor<br />
Sonara. Th~s is one of the longst and ntusr<br />
p~ofusely lyrical of all his nrorks. Thr ~ r ~ of l p<br />
thc Symphony IS not, howvcr, unrextrnable,<br />
t'or ~wrt oftl>e invetuiue expansivn thar<br />
nresden. It war a clg he greatly loved and characterizes rhis phase of 111s music is hrs<br />
one whose bmuty and tranquiIlity - as well intc~st in working wlrh lung-brearhed<br />
as its disrance From Moscow - gave him rhe<br />
circumstances he needed. Living rn<br />
seclus~on, he began work on an opcra on<br />
Maeterlinch play Manna kltna. hut was<br />
obIiged to abandon work afier a single act,<br />
prlncipallv rhrorl+ copyright difficulties<br />
with ihe author and ~>ublishrr He WJS aim<br />
anxious to devore himself to his Second<br />
rhemes. These need rhe f~rllength of thc<br />
work - about an hour - In order to find 11Jeir<br />
~vmplctc syrnphunic KL-dlizatiun. In turn.<br />
hchmaninnv wxs well aware rhdr a ~nrlnd<br />
srnictuie m necessary in order to supporr<br />
thc music, and so hc makes use of a mottu<br />
rhelne ro provide a unifyrug framework and<br />
to guide the Ilstener's mr.
. .<br />
I hjs thcrnc is heard 3r oncc ~n the cellos<br />
2nd hasses, then ha-ly developed acrus5 the<br />
unusually rich orchestration that also<br />
characterizes the Sympllonr,. Though<br />
Kachmaninnv does nor, on thc whole, makc<br />
use or chamber musu ~uml,i~~ar~ons of<br />
instruments wirhin [he orchestra, in [he<br />
manner of Mkler, he d~cs cnnlrxr rhr<br />
individual groups of wrnd, brass and strings<br />
as wcll as draw upon his ear fur a rich, soft,<br />
full o~chesrral rmturc. The except~onal<br />
vlgour of thc scher/o which follows rs also<br />
rxprewd o~cliesti~ll~ III sharp. even<br />
dmrnatic contrasts between the diffcrcr~l<br />
orchestral groups a< [hey pass thc rhelne to<br />
and fm. Thiq rlieme, first heard on horns at<br />
[he start, derivcs from the melody which<br />
haunwd Rachn~aninov all his l~k, he<br />
ptail~chnnr from the Mass for the De.~d, the<br />
Dies Irac. r'unhermore, he 1s slulh~l it1<br />
wiring one of rhe most dcllute instrumental<br />
passages in rhc wholc of his music as the<br />
almost hpcctral conclusion to the scherzo, nor<br />
unlv For rrs own sake but tu set in reid the<br />
sumptuousnws of the Adqo. Thc finale,<br />
wh~ch pm\.~des a vigorous and wen<br />
vchement conclusion, includes a reference to<br />
the Aahgio: but iri general 31e klnship<br />
beovccn the movements, and therr<br />
rrla~~onshi~ to thc opening motto, is lcss a<br />
matter of quotation than of rhe<br />
preduminance of ~nelod~es that move hy step.<br />
Rack in Russia in i!108, Rarhman~ntw<br />
conducted [he first performance of rhe new<br />
Symphony ln St Pc'rtrrsburg on 8 1:ebruary A<<br />
part of one or rhe subscriptlun concerts given<br />
by 111s cousln tllrndnder Silori. It was<br />
enthusiast~cally rece~ved, even by rhnse who<br />
were
drrrk, who bcrvmcs alarmcrl and flit5 uff.<br />
The choml setting is for bames in unison, bur<br />
Kachmaninov draws upon his oruhwrral<br />
resou~ces to give an affecting picruie of rlie<br />
drakc's rlisrnay ant1 h ~surruwhll ialls aftcr<br />
her In a long oicl~est~al FIRII. The sec011d<br />
bung, 'i\l(h tv, vdnk~' (Ah, Vankx), ra fur altus<br />
alol~c, ~ n1s d a ~cnrlc lamcnr tor rhc lor oEa<br />
luvcr: ~t tuo ends wirh a long sigh. hummed<br />
on 3 desccnduns cl>rotnatic scale, atid an<br />
accompmying passage on orchesrra and<br />
piaiiu. Thc thlrtl, 'Rcl;l~tsv, rumanyitsy vrr<br />
nioy' (My cheek, so white, ho roqy!), uqe<br />
thc ~ hu~r in rhree pam, and is unusual in<br />
Racln ntanit>oi;p otirpur tn being a conled,<br />
cvcn 1f 3 wry one. A wife who 1~ been<br />
unfaltliful at a party watchcs with prctcnd~d<br />
p~i771~~nrnr nnrl rprrnr IF lirr li~~~h.~nr(<br />
apprunches her with a 'present' of a sirken<br />
whip There is tomc li\.cly balalaika imitation<br />
wlrh plucked srrinp (2 Gtinka idea<br />
Ra~hmanrnov urouid have enjoyed In A Lifi<br />
fir thc Em) at~d qnme tnnck-lamenting.<br />
whlle the rap ofrlie wood block sug:estq thar<br />
thc bt~ting nccrl not bc rakcn too scnously.<br />
The Snnp were given [heir f i perforniancr<br />
~<br />
by Leopold Srokowsk~ In Philadelphia in<br />
1927<br />
Q 1998 John Warrack<br />
Thr first L-O~CC~~ P~rforn~a~~~~<br />
givell by tlrr<br />
R,ioscow Conservatoire Sturlcnt Chnir, larer<br />
ro I>u~crmc rhc choir ofrhc <strong>Russian</strong> State<br />
S~mphollic Cappella. under Valrri I'ulyannrkl<br />
(alsu a rtudcnt at tlic Cuoscrvatoire) oti<br />
1 December 1'171, iq cons ldercd ru bc rhe<br />
datc. uf ln Fu~rnddlivn<br />
In 1775 rhc Cltoir, ultdcr Pnly~nslcy, u=vt,ll<br />
gold nnrl bronze medals st the rnrernatiun:~]<br />
co~npc~ition of polypltonic choirs, 'Guitlo<br />
d'Areuo' in Italy. Th~s was the fim tjme in<br />
tl~c hisrury uf thc <strong>Russian</strong> chural tmdition<br />
rl~ar u choir ]lad ken rnvordeci a prize it1 ail<br />
international competition. Valeri Polynnskv<br />
won a special pri~c as best conrtuctor nf the<br />
cornperition.<br />
Pulyansl
VJadimir Spivakr,v and Zuhin Mrhm.<br />
Since 1992 rbe urcl~csrra has been<br />
conductccl by Valeri Polyansky 2nd hu given<br />
int~un~erable concurs ~n~erher wirh thc<br />
<strong>Russian</strong> Statc Symphonic Cappella. In that<br />
same year [he Orchestra toured the USA,<br />
Canada, Germanv, Spain, Italy, AIIELI.~~.<br />
Jppati lnri Taiwsn<br />
Ahcr graduating froin rhe Mu\cow Srare<br />
(:onservatoire, Valeri 1'olyansk-y attcnrltd A<br />
postgraduate cuursc In npera and wn~phonlc<br />
condwring. where he studicd with Gennatlv<br />
Rozhde~rvznsk~.<br />
Valcri Polransky hepn his pmkusional<br />
coilducriilg at d ~e Mwow Operetra ll~arrc<br />
and t the Rolshoi Thmtrc. nllring ~l>ir. tinw he<br />
dso workul wit11 all the lading splphuny<br />
rrn-llr~rrx nf Mnsm In 19'12 he hewnlc<br />
Artisric Dircfror and Principal Gnrluctor of die<br />
Rurshl Stare Symphonic Ciippella aid h~ssinn<br />
State Symphntty Orche~tra.<br />
V~leri Polyaosky has wide connections<br />
wirb other Icatling <strong>Russian</strong> and intcm:~tim~al<br />
s~rnpllony nrchestras; he has co~~ducred the<br />
Srare Chamber Orcllrs~ra of Uyelorussia, rhr<br />
Hclsinki Sv~nphony Orchestra and he Taipei<br />
Sumpt~on~ Orchestra. He was i~~volved with<br />
a prodtictiun ofTchaikovskfs EI~~CVP OYIF@FI<br />
at rhc Gfirehorg Music Tl~c;trre in Sweden<br />
and in 1'113 u-s 1"incipal C:onducror at thc<br />
Gtircbuq Fcslivat.
Rachmaninow: Sinfonie Nr. 2IDrei russische VolksIieder<br />
Irn Jahre 1906 war Rachmanlno\\. niir seinen<br />
rlrri1rnddrriRig Jahren eine fuhrende Gesnlt<br />
des russischen Musiklcbcn3. Scin Rrlhn~ ats<br />
Konrrrrpianirr harre 7.ur Folge. dail er<br />
stindig gefrngt war, und cr hattc darum und<br />
wcgcn seiner Positioti aIs Dirigen~ der<br />
Kaiserlichen Oper in LMoskxu wnicnig Zcir,<br />
schBpfirisch tsrig zu scin. Darum heschloR<br />
cr, sich nicht nur 3us dem Konzertbetrieb.<br />
sonde~n such von der hcktrsihcn<br />
rnusika[~schen ~rnd gesellschafrlicl~en Szene<br />
~uruckruziehen, urn sich gam dcm<br />
Kornponiercn zu wirlmcn. Er sdgr allr seine<br />
Enga~rn~nrl ah, welche die lurl)ule~r~t.<br />
polirische Srtuation im Gefolgc dcr<br />
Revolution von 1905 und der<br />
an~cl11ieRende11 Mawendeportat~onen<br />
ahnehin gefjhrdet erscheincn LicK, und<br />
rnachti sich mit scincr Fnmilic auf dcn \Vcg<br />
11acI1 Dresden. Er iiebre dime Stndt iiber<br />
dles, und ihrc Schonhcir und rut~ige<br />
Xtrnosph~re - 11nd l~ariirlich ihre Entfernung<br />
van Moskau - lieferten ihm die<br />
BcdinSungcn, tlic cr brarichre. Er lehrc in<br />
AbBscl~iedrl~hrir und begann rnit der<br />
Komposirion einer Oper nach Mactcrlincks<br />
Schauspiel Molonnn Ntr17m. war jedoch<br />
g~-~w~~ngcn, nrrch einem Akr die Arhetr<br />
cinzusrellen, w s hauprsichl~ch nuf<br />
urhrbcrrcchtl~d~r Problen~e nut den1 Aurtlr<br />
und den1 Vertag zuriickzufiibren war.<br />
AufSerdcm drangtc LT ilul, sich seiner<br />
Zwcitcn Sinfonie 7.u widrnen. Die Arbeir<br />
daran hatte unter charakrcrisrischrr<br />
Gchcimlrsltudg ir) RuRl~~rd hegonnen, unrl<br />
i m Fehruar 15107 konnte Kichmininw- an<br />
einen 'Freund schrcibcn, rlaB tr sir sei~<br />
rinem<br />
Monat im Entwtlrf ferrig habe. Allerdingp<br />
sickerre die lnformntion zu cincr st~ssische~~<br />
Zt.i~ui~g duul ~1111 cl sah sic11 gcniirigr, AIIYA<br />
~~rzugehen, als er perade die Orchestrarion in<br />
Ang~iff nehmen wullrc.<br />
Pic Sinfonie ist sichrhartr Reweis einer<br />
ungewiihnlich fruchtbaren I'hsse in<br />
hchrnan~nows Wcrdcg~ng. die ~ i ~ dic c t ~<br />
Kornposi~ ion drr fii~ninrcl uild der<br />
Klwiei-sonare op. 28 erlebre. Sic ist clncr dcr<br />
lingsrcn IIJI~<br />
iitrerschwenglich Ivrisch~ren<br />
seiner Werke. Dabei wirkt der MalSsmb der<br />
Sinfonie vom MalJstab hhcr k~.insswegs<br />
iibcrtritbcn pK, dent1 die schiipferische<br />
Weirlaufigkeir, die die ~Musik dieser I'hasc
kennzeichnct, ist Yuln Teil auf scin Inrcrccsc<br />
wn Urnpllg nlit langgcmKe:rnen Themcn<br />
zuruckzufiihrca. Solche Themcn bculiirft.11 zu<br />
ihrer vollstiiodign sinfnnischen<br />
Venvirklichung drr vollei~ Liingc des Werks -<br />
r~rntl eine Stunde Spieldaucr. Andererseiis<br />
war sich h~hrnaninow ddruber im klaren,<br />
daH till solidcl Aufhau nijtig war, urn dic<br />
Mu4 zu stiirzen, und dartit11 hedient cr sich<br />
cines Lcirthcmaa, nnl ein elnendcs<br />
Rahmen~verk und eine Orienrierunghilfc Ftrt<br />
den Zuhorer zu schaKcr~.<br />
Da bcsagte Themn wird einmni von Celli<br />
und Bken dargeboten und dann in frcicr<br />
Uurchfiihrung qucr drtrrrh die ungtw~~~nIich<br />
11ppige Rwer7.ung gelenkt, die cbmfalls die<br />
Sinfoilie kennzeichner. Auch wenn<br />
Rachmaninuw im Rzhmen &s Or~lrcrr~ix im<br />
allgerneinen keine hmctmusikkombinationen<br />
einxta, sorgt er doch mil<br />
cin7tlncn Gr~ippen von Holzbl;isctn,<br />
Rlechhlasern und Srreichcn~ fiir Kontmsrc<br />
11nd marhr GchrarlcIi von seinem Gcsptir fur<br />
rllchtzs, ~veiches, volles Orchtstergefi~~e. Dle<br />
auRerordentl~che Vitalirat des anschl1ef3entlm<br />
Scheruls tln~ckr slch such in1 Orchcster aus,<br />
und r.\rar in scharfen, wcnn nichr gar<br />
dmmatochen Kunrrasrm nuischen den<br />
venchi~dcnen Orchestergruppcn, wailrend sre<br />
das Thema hin- und hctreichen. Dieses<br />
Thema, das am Anfang zuersr von dcn<br />
Hhri~eril vorgetragcn wird, isr aus der<br />
Mclullk 11c1 volgcpgcn, d1.c ILchmani llr>\v<br />
sein Leben lanp vcrkdgt hat, dem Choml<br />
Urcs Irac .xi< der Totenniesse. Daniber 1rin;luq<br />
I>ewelsr er sein Geschl~k, indem er zum<br />
beinahc athcrischen AbschluP, dcs Sd~error<br />
cinr der fei~lsren Insrrumcntnl~m~~qen seines<br />
gesamren S~hafFetis komponiert, nlcht ntlr<br />
urn ilirer selhst willen, sondcrn auch, urn die<br />
Uppigkelt dzs Adagios I~ervorzuheben. Uas<br />
finalc, tlas einen energischen. wcnn nichr giIr<br />
vrhemenren Schluilpu~Ct wr77, ~nrhilr ~ i n ~ n<br />
Verweis 3uf das Adngio; generelC jedoch ist die<br />
H~xichring 7.wischen den Sitzcn rind ihr<br />
T'erhSlrnis zum anfinglichm Leirrhema<br />
~venigcr cinc Frage des Zirierens als cinc drr<br />
Vorhrrrscl~aTr veil Melodicn, dic schrirnvei~e<br />
~roranschreiren.<br />
Nach Rugland rur~ickgekehrt diripicrrc<br />
Racl~maninmrr im Ihhrnen cine3 von seioem<br />
Verrer Almzndcr Siloti veranstalteten<br />
Subskriptiunskotwerrs 1908 in St. Pcrcmhl~~<br />
dic Ura~iffuhrun~ der ncucn Sinlbrlie. Sie<br />
wurde begcistcrt a~rfgeno~n~nen, selbst von<br />
jenrn, dic ihre ungewohnliche Langc<br />
iibetra
311s dem I'rogmmm scincr Kur~~rr~e srricli.<br />
Trmt I>rac111e Rachlnallinow d~e Nachricht,<br />
dafl ihm der rnit I000 Rt~hcl rll~tirvre<br />
Clinks-Preis verl ielren worden war.<br />
Zchn Jahrr spitcr vcrtrid, die Rrvnlurio~~<br />
Rachmaninorv ertleut aus seiner I Icimar,<br />
tlicsmal auf Daucr. AL~x~clni~ren VOII<br />
scincm Land uid dc11 Quellen scincr<br />
Mutterspmche gab er suwuhl dic Oper als<br />
aucli dic la ti^ Reihe von Liedern auf die zu<br />
seinen charakterisrischcn kiinstlcrisclrrn<br />
Aussagcn zil~tcn. Die Drei russische<br />
Vollrslieder yon 1926. die lcntc rMusik, dic<br />
er fiir Chur (untl cin uose:e\~ijl~t~licl~ groRes<br />
Orcheqrer samr Klavier) schrieh, bilden unter<br />
seiilen Vertonungcn russischcr Tcxtc riiir<br />
scltcnc A~lsnalirne. "Tschew~ rerschku" (Uber<br />
den Rxh), dzs ersre, is[ eine rchtichte<br />
vulkstiimliche Wisc iibcr cincn Erprl, der<br />
rnit ccincr ~eliehren grauen Enre eine kleine<br />
Holzbriicke iiberquerr, die daruber erschrickt<br />
und davonflicg. Dcr Chomtz isr einsrimmig<br />
hr Raqce. her Rachnlaninow numt die<br />
Mirrel des Orchesters, urn die Restiinung rlcs<br />
Erpcls rind scinr bekiimmerren Rufe nach ihr<br />
nit rinein langeil Urchesrewuher ergreifend<br />
darzusrellen. 'kh y, LVanIanlta" (Ah, Wanka),<br />
nur fiir Al~srim~nrt~ knmponierr, isr eine<br />
sachte Wage iiber den Verlust einej<br />
Gclicbtcn; u cndcr chcnfalls mit cinem<br />
Idngen Seufier, scsummt cntlang cincr<br />
abwarts ~cricl~reren chroinarisclien Tonleiter,<br />
und cincr bcglcircntlcn I'assagc dvs<br />
Orchrs~ers ~rnd Kfaviers. "Delilizy. rumanjizy<br />
~y moy" (Mcinc \X'an~c11, SO wciK, 30 rusiz!).<br />
rlns liri~rr Lid, reilr den Chor in cirei<br />
htimrnen airf unrl ist ;IF Ra~h~n:{n;no\vs<br />
Guanitwcrk insofcrn ungcv;iilinlich, at3 cr<br />
sic11 einer \Venn such vcrschruhcncn Komik<br />
bcflcii
Staacsrinfonie-CappcIla umbenannr, wird<br />
dcr I. Uerrtnller 1971 ynannt, daq Datum<br />
reinrs crsren Kur1,~rrdufrritts untcr Vxlcri<br />
Polj;~t~ski (damals sclbst StlirImr >In<br />
Konsernturiurn).<br />
1075 crrang der Char utlrcr Poljanski als<br />
ersrcr Chor in dcr Gcqchichre der russiscl~cn<br />
CIlurrnt~sik cinet~ Preis in cin~.m<br />
inrern~rionalcn \Vettbr-rucrb, a15 ihnt in<br />
lnlicn dic guldcnc und broilzcnc .Mcdaillr<br />
iln intertiariot~alen "C;uidu tl'Arrzzow-<br />
IVr~rbewerb fiir mchrsrimmige Chorc<br />
vcrI;c.I~c.n xvu rdc. VaIrri Pnljnnrki ywatln<br />
auRerdem cinen Sonder~rcis ah hesrer<br />
Uirigenr des \Wettb~~.ucrbs.<br />
Polianski 11nd der Russischcrl<br />
Sr3arrsinfonie-Cappella haben ausgedehntc<br />
Kunxrtreisen in RuI3land und im Auslard<br />
utirertion>men und werden \.on dcr Kririk<br />
init ~roRern Beifall nu&crlonllnen.<br />
~ A Russiqche V Smtssinfonieorche~ter,<br />
ehemals d- S~uw~ctis~be Philliarmonischc<br />
Orchr\rer, wlirde von dem Llirigcntcn<br />
Gennndi Roschdesnvcn>ki gegrundet. Es hxr<br />
zahlrcichc Konremreisen in Rufllnnd, Eurup,<br />
dcn USA ulld Japan unternommcn zrnd lrt<br />
nut vlelen wcltbcn~hrntrn Solisten ultd<br />
L)irlgnrcn wie Yehud~ Menuhin, N~kolai<br />
Prrro\r: Yuri Uaschmer, Vls~F~mir Cpivakow<br />
und Zuhin Mrhra nufgetrctcn<br />
Sclt 1992 5tcl1r
Cinfontrorchesrer von 'liipcb rltwer seiner<br />
Le~tung ~es~rclt. Er war an einer<br />
In~xnierung won Tscha~ltuwskis Oper Ezigcnc<br />
Oncg1~1 am Mustkrhearer tn Liireburg<br />
bete~lipt und war 1993 Chefdirigenr hrt dm<br />
Gutcburger hhukfestspielen.
Rachrnaninov: Symphonic no 2ITrois chansons msses<br />
En 1106, hcharnaninov itair dewnu, i<br />
rrente-trois ans, une figure de prouc de la vir<br />
~n~lsicalc rusre. Sa r+utation de pianisre de<br />
concerr signifiait unc clemaode continucllc,<br />
et ccci, vcnant s'ajouter i sa chars dr chef de<br />
I'Ol>era impkrial dc Musco~i, ne lui Eaisssit<br />
qtre peu de rernp, 5 rronsacrer i sun travail<br />
crk~rif. Par consequent, il dixida de re rerirer<br />
de ['acrivir; de conccrt, mais aussi de la schc<br />
n~rrsi~de et socialr, afin de se wucr H la<br />
coml>o~ition. Annulant mus se engagements.<br />
qui de toutes manikres avaient ere rcnrlus<br />
incrrrains par Its rurbulences dc la situation<br />
politique duer h la fiulurinn de 1905 aiirsi<br />
qucpar Ics dCportationr rnassives qui<br />
s'e~~ruivirenr, il alla s'imtallcr h Dreqde avec<br />
toute ss hmille. C'ttait rlne \rille qu'il aimait<br />
inormkmenr er l'une donr la beauti ct la<br />
tranquiliri - de nieme quc sa distance de<br />
Moscuu - lui proc~~raienr les conditions dont<br />
il wait hesoin. Vivant retire du monde, il<br />
commenqa i travaillcr i un opCra d'aprks une<br />
pikc de Maerertinck, Monna Wxnnn, mais il<br />
fur obligi d'abandonner I'muvre aprb ut~<br />
scul actc, princiyalemenr en raison de<br />
tlificulres aaec l'aureur et 1'Cditeur rdativcs<br />
au copyright. 11 trait Cgalcmcnt ktr-patient de<br />
cr mnsacrer h sa Deuxikne s)mpl~onie. I1<br />
avait cornmen& 4 y tmvailtcr cn Rrissic, dans<br />
un sccret caracrkrisrique, er en fevrier 1907.<br />
Rachmaninov pouvait Ccrirc 4 un ami quc<br />
l'i-bauchc cn dtait acliwde, et ce depuis un<br />
tnois dbji. Cependant, une fuite dins un<br />
journal russe I'obligra alvrs i adtnettre les<br />
faits tandis qu'il en enumair l'orchesrration.<br />
La Symphooie est le n!moignsgc d'unc<br />
piriodc cxccptivnr~cllemenr prnlifique dans la<br />
carri;lre de Rachmaninov, une pPriode qui vit<br />
nussi I'avtnement de LZe des murar ct de la<br />
Sonatc pour piano, op. 28. Cerce muvre est<br />
I'une des plus loilgues eF des plus lyriqua<br />
entre ~oures. Les proportion3 dc la<br />
Symphonic ne sont poltrranr par<br />
deraisnnnables, a r le dkeloppemenr invcntif<br />
qui caract
iCce.;saire nfin dc soultmir la mrlsirjr~c. er p3r<br />
cunsdqricnt il urilisa un rhtme cyclique pcrtrr<br />
lui co~~fdrer unc char~lellte ~~~liCita~licc cr<br />
~uidcr I'c>rrille de I'audiwur.<br />
011 entend tuur d'ahord le thtrnt: aux<br />
\.ic>l
"G~ridc d'Arr/z.o", ell Iralie. C'cst la premiere<br />
fois dans I'histo~re du char11 cl~ural russe<br />
qt
Drei rtrssische Lieder<br />
I,<br />
~t~-dcsus rltr ruisstmu. ctu r.epidr rtriwertl.<br />
Ao-dcrrur du ponr. Fraisc.<br />
,%tl-tl~st~s dtt \~brtqw, rrai>~l>nisc,<br />
Un canard trawrsc<br />
LC prlril. Cr,aihni
l'hree <strong>Russian</strong> <strong>Songs</strong><br />
t.<br />
Chcr 11ic *rrc;trrl, ttlc sxv14't atram.<br />
01cr rhc brid~c strawhcrr).<br />
(Iver rile sreel) bridge. r.lapbcrr):<br />
PI dr;ukc is crussin:<br />
Thc bridge. wrxwberry,<br />
He5 crussins, rarpbcrry!<br />
I-Ic ir lcxd~ng<br />
,4 grc) duck acmsr, srrawherry,<br />
I Ic is lr3d111g lirr BCRISI, nuspbrrrYl<br />
Thr gr duck rook frighr.<br />
Sllc look frr41*t, strawberry.<br />
And shc Hcw a\\, msl,hrrrv<br />
All!<br />
Thc dnkc FIZI>~< ~IICW. WCCPIIIR.<br />
Hc st~rlda thcrc, wccplnp.
Oui. \f:ti~k,a. Avec qu~<br />
vais-jc duric<br />
Ilr.<br />
II rapponc url c;ldrar~ de priu.<br />
Ag do! Ay dl<br />
[I mc rapporrc un cadeat] de prix.<br />
Un huct en soie c~asfc!<br />
Ay, .I Ipli! Ay Iyuli, &. lyr~sl>enki ti!<br />
Un foucr cn soir: rresr;Le!<br />
11 veur me harrrc, lnoi sa jcune tpouse<br />
r\y, lyulit Ap lyuli!<br />
I1 verrt Ine bzrrrc, m.4 sa icunc ipuusz.<br />
F.r jc nc sais pas, jc ne comprend~ par pourquvi!<br />
0. q It, lyuli, ekh, lyushcnki. Iyli!<br />
F,r je ne sais pas, jc nt. ch~ijprendt p~ pourquoi.<br />
Qucl ma1 ri-jc fair!<br />
L seule chow quc j'zit. jilrrlais Fn~te een<br />
Drz dunklei> Ahcndc<br />
3.<br />
LMcinc \X7anFn, srr WCIR,
FI il n press6 mn mains hlnnchcs amour 1111 \erIc.<br />
Kt it m'a .rppelic du nom dc d.18rle devanr tout Ic<br />
rnondc.<br />
All ...<br />
VOUS. ma datnc. tnnn cignc.<br />
I';~in~e irorrc rnxnilrc dr rnt:~r~her.<br />
Mcs jouca. pi blsnclicr cr si rusks!<br />
(Jur 1- Inrmcs coulci~r Ir long dc mcs juuca<br />
blant-hn.<br />
\loll jaloux dc mari s'm rcvicnr a la mxisutl.<br />
II rrur me barrrr, moi La jcunc tprtse.<br />
A...<br />
Tbl. C>-IIIP~LUKR. IIc~~cuYUIK~I ~ILIH.<br />
~(>H~~>"RIIA~Ic~ ~ O ~ O ~ l ~ 1T~OH.<br />
1 l K ~<br />
L~:IIIJI~I~~I.<br />
PY>IIIHIIULI UL.I ~IOII!<br />
COUBTHTCCL.<br />
JlllUa 61331B 110.l0~1.<br />
E:ler. ener ~oir pe~~rroblil PI~X fio~oii.<br />
Xon~e-I-. xuqel- >ICII~. hlonony. IIU~IITL.<br />
~ P ~ RC.IOR0. O YOxleT Clll LtCHII n0r)lI'l~l~.<br />
H m He Irrl;rlo rr HC B~RBIO. 3i1 '[TO!<br />
You, my I~d,v, ,<br />
I likc rhc W;I! ruu wdk.<br />
I\.lv cl>ccle, ru wllirc. so rr,r'<br />
Lcts 111e rear< flow dnwn lriy nhitc ctiru.lis.<br />
h.ly lcaluus Iiuah~nrl is riding hornc.<br />
Hc wmrr to hcnr mc, liir ynllrlg wTc.<br />
Hur~cstl~. tir s.tntr ru bcx mc.<br />
And 1 don'r k~>o\v. I crn'r t~t~rlvr\~imtd ~vtiv!
<strong>Russian</strong> Stare Symphony Orchestra and Valeri Polyansky<br />
Grechatsinov<br />
Masr 'Et in trrrx pax'<br />
Sun~pt~o~~y No. 2<br />
CHAN 9186
<strong>Russian</strong> State Symphony Orchestra and Valeri Polyansky<br />
Shostakovich<br />
Shostakmich<br />
Sp~phony Nn. 12 S~nlphony Nn. l 5<br />
'The Ye21 1917'<br />
Ccllo Con~rtu Nu. 1<br />
L'rllo Conccrtu No. 7 , CHAN 9550<br />
CHAN 95x5
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Producer & enginerr Tgor Veprintsev<br />
Assistant engineers & ediron Elena Duneem & Vladimir Kisrlrv<br />
Recording venue Grand Hall of the Moscow Conseruatoirc; May 1'197<br />
Front cover Ohli.rqz~r l>y Fwdrric Lord Leighton (1830-1 896) (Cllrisrie's Images)<br />
Back cover I'hoto of Valrri Pol!.am!q by Nigel Luclihrlrst<br />
Design Sarah Wcnman<br />
Booklet typeset by Michael White-Robinson<br />
Booklet editor Kar:~ 1.)-trlr<br />
Copyright 11a\vltcs & Sun ([.ondon) Lrd (Symphony No. 2), EM1 Harmonies Lrd<br />
(Three liussian <strong>Songs</strong>)<br />
:b 1988 Chandob Rccurrl~ I.rd<br />
(c; 1998 Chandm Rturlrrls I.rd<br />
Chnndos Rccords Ltd. Cvlclrr
Valeri l'olyans~