Egyptian Nights Arensky, a ballet op. 50

Anton Stephanich Arensky (1861-1906) was born to wealthy parents who took advantage of the conservative system formed by the Rubenstein’s in Moscow and St. Petersburg during a good time for music in the mid to late 19th century. After writing songs and works, many of which showed a real talent by the age of 9, the family moved to St. Petersburg. He learned counterpoint, harmony, composition, and instrumentation from Rimsky-Korsakov at the Rubenstein run school during the 1870s.

At 21, he graduated and was given the highest mark in harmony by Tchaikovsky, Arensky went back and forth between the two cities) a lifelong advisor, till his death promoting his work even to his own publishers. His twelve years teaching Gliere, Rachmaninoff, and others proved a plus in his life. Rachmaninoff, who dedicated the C-sharp minor op. 3 ( Morceaux de Fantaisie) to him, again was a feather in his cap, and his work with Scribian proved well for him.

In 1888 obtained the position of Russian Choral Society Director, a position he held until 1901 when he retired on his 6000 rubles per year pension, twice the amount Balakirev received because he worked long and hard hours. In addition, he wrote a book of “Collection of 1000 tasks for the Practical Study of Harmony,” something still used today.

Alcohol, not to the extent of Moussorgsky, but enough to have him hospitalized in 1887 for a mental breakdown, to the happiness of friends Taneyev and Tchaikovsky hoping for a cure. While it lasted for a short time, being a true alcoholic, as well as a gambler and carouser, he returned to his old ways until consumption forced him to a sanatorium. He died in St. Petersburg at the age of 44, leaving 70 opuses and a trail of poor judgment behind him; Scriabin and Lyapunov come to mind as examples. Both Rimsky-Korsakov and Tchaikovsky said what might have been.

Considered by many to have an incredible melodic talent, he produced some well-known chamber works, along with operas, a piano concerto, symphonies, songs, and a ballet this review is about. Written in 1900, first performed in 1908 at the Marllinsky theater in St. Petersburg with choreography by Mikhail Fokin. The work was taken from William Lane’s “An Account of the Manners and Customs of the Modern Egyptians,” music taken from overture in the book, which sets the stage for the story of Cleopatra and Amoun, who became quite smitten so far he would give his life for one kiss. While Cleopatra finds him attractive but grants he wishes not quite to his extreme, even though the I love you arrow got her attention, she does end up sailing away with Antony, Amoun throwing his feet at Bernice, who takes him back to who he was going to marry until he saw Cleopatra. Finally, Amoun is saved from dying by the high priest, and you have your story.

The ballet is a series of 13 dances plus the overture, played twice, a rousing feel-good horn-driven melodic theme. Arensky uses the harp to bring out the softer quiet passages along with a solo violin and cello, which I approve of. It has the sound of being a lot more modern sounding than 1900. Again, Max Steiner comes to mind. Between his trips from Moscow to St. Petersburg, he developed a unique sound combining Tchaikovsky and Rimsky-Korsakov. Slavic with a light, airy touch, plus his melodic talent.

After the opening Ouverture, which sets the mood for the ballet, the 1st dance is ‘Scene and Coquetry Dance,’ a soft pretty melody played by flute and finally solo violin with a feeling of tranquility and romance filling the air. Part of this theme is included in his Suites. ‘Entry of Cleopatra and Scene as she takes her place on the stage majestically and dramatically. ‘Dance of Arsinoe and the Slaves‘ is a series of divertissements featuring winds and strings. It is one of two Arsinoe dances, the other being ‘Snake-charmer: Second Dance of Arsinoe’ mildly exotic as Berenice entertains Cleopatra. ‘Dance of the Jewish Girls‘ is taken from “Miriam’s Song of Joy,” a pretty Yiddish melody. ‘Dance of the Egyptian Girls’ gives away his Russian heritage though not out of place, and ‘Dance of the Ghazis‘ is a standard eight-note melody pleasant enough, a dance for the victorious warriors. Finally, there is a pretty Tempo di Valse waltz salon piece.

‘Solemn Entry of Antony’ is a fitting piece of music with a Rimsky-Korsakov style to it, a short Harp cadenza, and the Finale to this pleasant piece.

I have always found the playing and conducting of Yablonsky and the Moscow Symphony to be filled with energy and enthusiasm performing lesser-known Russian works. Therefore, I am happy with this recording and can recommend it to you.

I can also suggest two Naxos recordings of more Arensky recordings #8553768 and 8.570526 fine recordings in the Yablonsky tradition.

Richard Strauss Orchestral Works

BIS 2342

Richard Strauss (1864-1949) wrote his first tone poem, in Sonata style, “Macbeth” op. 23 in 1886-1888 listening to Wagner and Lizst and came up with a ‘symphonic poem’ It is really a symphonic movement as it tells the story of the character Macbeth and his wife and the not the story. While his first attempt at writing for characters of literature didn’t go as well as he expected it is certainly worth listening to.  However, it lacks the color and tonal quality of a true tone poem, along with the story telling. What it does offer is lots of action if you like your music this way.

At the request of conductor Hans von Bulow in 1888, who thought little of the work, and wasn’t afraid to give his opinion, Strauss revised the work on several occasions once to change the ending from a major key to a minor one at the end of the ‘symphonic poem.’ He conducted it in 1890 with the Weimar Orchestra after “Don Juan” and “Death and Transfiguration” had their premieres even though “Macbeth” was written before. It wasn’t until 1892 that Strauss became satisfied with it and it is this version that you hear performed.

By creating repeating motifs to create dramatic action in such a dissonant way to bring out the in stabilities of the characters. There is no adherence to the plot of the story only the two main characters and Macduff at the end of the work where we do hear a climax.

We hear Macbeth straight away with a fanfare of trumpets but a note of anguish to it and the second played by cellos, basses, and low woodwinds which bring out the sinister side of the man.

Enter Lady Macbeth who begins with very soft and restful flutes and clarinets over a horn note. What follows is her turmoil in this conflict and there is lots of it brewing.

Hie thee hither,
That I may pour my spirits in thine ear,
And chastise with the valour of my tongue,
All that impedes thee from the golden round,
Which fate and metaphysical aid doth seem
To have thee crown’d withal.

There is a clashing of the two motifs going back and forth which builds to a climax only  to be climaxed by Macduff leaving the two Macbeth’s destroyed by their own plan.

The conclusion is a triumphant march to end the work.

Written in the summer of 1888  “Tod und Verklarung” (‘Death and Transfiguration’) op. 24 is the third of his tone poems and a completely different very mature work that has seen its way to catalogs of symphony orchestras thus well performed due to its superior quality.Strauss was in excellent health when he wrote this and didn’t come down with pneumonia until 18 months after the completion of the work, contrary to the wives tales of the day.

Could it be as one writer put it that Strauss found poetry in his tone poems and it truly told a story? With the help of his friend Alexander Ritter, who wrote the poem below the reader and listener gets an idea of the work.

I. Largo. “In a small bare room, dimly lit by a candle stump, a sick man
lies on his bed. Exhausted by a violent struggle with death, he lies
asleep. In the stillness of the room, like a portent of impending
death, only the quiet ticking of a clock is heard. A melancholy smile
lights the invalid’s pale face: does he dream of golden childhood as he
lingers on the border of life?”

The mood is quiet and there is a steady, yet syncopated, pattern played
by the violins and violas. This is often thought to be the death motive,
though it can also be associated with a ticking clock and a failing human
heartbeat. Arching woodwind solos over horn and harp accompaniment
signal a sad smile and thoughts of youth.

II. Allegro molto agitato. “But death grants him little sleep or time for
dreams. He shakes his prey brutally to begin the battle afresh. The
drive to live, the might of death! What a terrifying contest! Neither
wins the victory and once more silence reigns.”

Harsh blows of the brasses and a faster tempo signify the struggle
with death. Motives that describe this struggle, including a fast paced
version of the death motive from the opening, are battered about the
orchestra. Just as death is about to triumph we hear a glimpse
of the transfiguration theme presented in the harp, trombones, cellos
and violas, the ideal that can only be achieved after death. But death
has not yet come. The music settles again as calm returns to the room.

III. Meno mosso, ma sempre alla breve. “Exhausted from the battle,
sleepless, as in a delirium, the sick man now sees his life pass before him,
step by step, scene by scene. First the rosy dawn of childhood, radiant,
innocent; then the boy’s aggressive games, testing, building his
strength—and so maturing for the battles of manhood, to strive with
burning passion for the highest goals of life: to transfigure all that
seems to him most noble, giving it still more exalted form—this alone
has been the high aim of his whole existence. Coldly, scornfully, the
world set obstacle upon obstacle in his way. When he believed himself
near his goal, a thunderous voice cried: ‘Halt!’ But a voice within him
still urged him on, crying: ‘Make each hindrance a new rung in your
upward climb.’ Undaunted he followed the exalted quest. Still in his
death agony he seeks the unreached goal of his ceaseless striving,
seeks it, but alas, still in vain. Though it grows closer, clearer,
grander, it never can be grasped entire or perfected in his soul. The
final iron hammerblow of death rings out, breaks his earthy frame, and
covers his eyes with eternal night.”

This section begins quietly with solos traded throughout the orchestra
building to a more marchlike section that describes the man’s maturation
to adulthood. The orchestra swells, and at the high points of phrases we
hear the trombones and timpani proclaim the death motive. In the midst
of the chaos the transfiguration motive is also heard, signaling that the end
is near. Another outburst occurs, the final struggle with death, the storm
and fury of the orchestra dying away and capped off with the sound of the
gong, the death knell, announcing the soul’s departure.

IV. Moderato. “But from the endless realms of heavenly space a mighty
resonance returns to him bearing what he longed for here below and
sought in vain: redemption, transfiguration.”

Beginning quietly, the transfiguration theme is presented and is, itself,
transformed. The sound grows as instruments are added and the sound
climbs higher and higher, with all of the symbolic imagery implied, to
the uppermost reaches of the brass, woodwinds and strings. The work
ends peacefully and tranquilly, with death having won the battle but with
the soul’s deliverance and transformation surpassing all.

60 years later Strauss lying on his deathbed says to his sister that death was as I had composed it to be but he only got the dying part right.

1911 produced the opera Der Rosenkavalier (‘The Chevalier of the Rose’) which was a radical departure for Strauss, a comedy. Apparently he was bored writing serious music and for a change followed the path of Mozart although this was quite a bit different from something Amadeus would compose.

Arranged for suite in 1945 likely by the conductor Artur Rodzinski the suite plays all of the tunes we have grown to love and appreciate. As I close my eyes and listen I conjure up a Max Steiner movie from the ’40s. What an influence Strauss had on Hollywood.

While there are 5 parts and 25 minutes it is played with little pause between the movements. The strings are lush in all the right places and one can easily see why this was his most popular piece.

The Singapore Symphony has come a long way from the Marco Polo days of 30 years ago. It is a first class orchestra and the new recording on the BIS label certainly does them justice. The performance is bright and well paced a pleasant listening experience.

 

 

 

 

Piano Concerto #7, Op. 132/Ferdinand Ries

The 2009 Penguin Guide had a total of 0 recordings in their perfect guide to building your classical collection. It only took me about 10 minutes into this new Naxos recording to come to the decision that they were wrong in their assessment, at least in the case of this recording and at the very least for offering nothing from this talented recorder.Ferdinand Ries was a student, secretary, and copyist for Beethoven during the years of 1803-1805. He made his debut as a pianist in 1804 performing Beethoven’s Piano Concerto #3 in C Minor, Op. 37 with his own cadenza, to good reviews. He left Vienna in 1805 to avoid the draft but stayed in touch with Ludwig over the years, aiding him with getting some of his publications in London performed and published, including the 9th Symphony in 1822.

My first listen gave me the impression that the 7th Concerto, composed in 1823, wasn’t written in the first part of the 19th Century but somewhat later on, perhaps as much as 25 years later. While not as technical or romantic as I’ve heard, the 1st movement, an allegro con moto is lyrical and stylish enough for me to have stopped what I was doing and just listen. The opening/ prelude statement, showing the Beethoven influence, is 3+ minutes and introduces quite nicely the piano, which offers another theme showing off the skill of the soloist, Hinterhuber in this case. The larghetto is a pretty one, reminding one of romantic times in a delicate fashion. If one were beginning to nod off with the somewhat tranquil nature of the second movement the allegro will certainly open those sleepy eyes in the third and final movement. Quite vivacious it certainly shows the skill of the soloist. While Grand Variations on ‘Rule Britannia’, Op. 116 is not my cup of tea it is a pleasant listening experience for the person who finds this majestic theme one they find enjoyable. Perhaps not being British might have something to do with my opinion. The concluding work, Introduction ET Variations Brillantes, Op. 170, is based on the song “Soldier, soldier will you marry me?” and offers a nice balance between orchestra and the piano solo sections. It is a nice theme that is nicely developed and allows the technical ability of the soloist to come to the forefront.

This is an excellent way to be introduced to the work of Ries and if one is interested there are 4 more offerings of his piano works performed by Susan Kagan and Christopher Hinterhuber on the Naxos label.

Track Listing and Times:

Piano Concerto in A minor, Op. 132 (34:59)
1… Grave-Allegro con moto
2… Larghetto
3… Allegro
4…Grand Variations on ‘Rule Britannia’, Op. 116 (15:58)
5…Introduction ET Variations Brillantes, Op. 170 (14:35)
Total Time is 66:02