Orchestral Works - Oresteia Ov
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The Temple of Apollo at Delphi is the best-known excerpt from Taneyev' only opera, Oresteia, the mammoth overture to which has all the force of a Romantic symphonic poem. His Overture on a Russian Theme is based on the same folksong that Rimsky-Kor
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Included is also the five-minute Entr'acte from the third act of the opera called 'The Temple of Apollo at Delphi'. This is a scene where Orestes who, after killing his mother, has attempted suicide but is prevented from dying by The Furies. He goes to the Temple of Apollo to ask the god to save him. This music is just as powerful as the Overture but with episodes of serene repose. Gorgeous stuff.
The 'Adagio in C Major' (1775) was written when Teneyev was still studying at the Moscow Conservatory. It is peaceful, songful and reminiscent of Tchaikovsky. The 17-minute 'Overture on a Russian Theme' (1882) is based on a Russian folksong that had been collected by Rimsky-Korsakoff. Taneyev did not often use Russian-sounding melodies and this work shows his ability to dissect and vary such material. His masterful counterpoint is in clear evidence. Nonetheless, for me the piece comes close to sounding like an academic exercise.
The 'Cantata on Pushkin's "Exegi Monumentum"' (1880), whose final line is 'And I will be famed so long as at least a single poet/Remains alive under the moon', was written for the unveiling of a Pushkin monument attended by such worthies as Dostoevsky and Turgenev. It is a celebratory four-part chorus with simple orchestral accompaniment and minimal polyphony. 'Canzona for Clarinet and Strings' (1883), played here beautifully by clarinetist Stanislav Jankovsky, is lyrical and serene.
The final work, 'Overture in D Minor' (1875), earned Taneyev a gold medal in his final year at the Conservatory. Again, it sounds a bit like the full-throated Tchaikovsky with masterful orchestration, brooding melancholy and soaring melodies.
There is no question that the best music here are the two 'Oresteia' pieces, but the other works, while not at the very top level, give us an idea of the development of Taneyev's art from his earliest years. This disc certainly makes me wonder if a recording of the full opera 'Oresteia' will ever come to pass. One hopes so.
Not being a musicologist, I won't delve into the musical structures and historical significance of the works in this recording--please refer to the previous reviewer's in-depth review of this recording to really learn about these works; it's a great review. All that I can say is that I really enjoyed this recording of some very late Russian Romantic orchestra music.
an orchestral composer. It includes seven of his works, beginning with
the large-scale Oresteia overture that is greatly played by Sanderling
and his forces. The second highlight is the Overture on russian themes
that shows his mastery in counterpoint and colourful orchestration in
a very lisztian structure. The rest of works are also very enjoyable.
Sanderling's conducting and Novosibirsk orchestra playing ara a matter
of wonder and delight. Easily an essential Taneyev recording.
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