Galina Vishnevskaya and Mstislav Rostropovich perform Rachmaninoff and Glinka

   Song is definitely a cultural phenomenon. It unites poetry, music and performance in one clear economic form. It is more than just a communiqué, it is an exposure comprising human processes: emotional and intellectual, private and social, natural and cultural. Song is present since ancient times, throughout history, to the present day. There were special moments, when song in various forms became particularly important, like late mediaeval canson or early baroque accompanied monody. Song is especially significant as a medium of rebellion and protest. Artistic song was also probably most characteristic musical form of romantic era. In 19th century European culture poetry was probably more popular than ever before, and musical elaboration of poems took prominent place in many social events. No wonder almost every composer was trying his potential in songs, song cycles, small forms for voice or even instrumental miniatures constructed as songs.
   Russian composers were especially creative in this field which was the result of great romance tradition giving song special place in repertoire and in collective memory. Russian culture until XVIII century was developing in isolation. In consequence of religious and cultural differences, Russian music was almost impenetrable from West European positions. The first Russian composer who became internationally recognized was Mikhail Glinka (1804-1857). He become famous for his operatic works, especially A Life for the Tzar (1936 original title Ivan Susanin) Ruslan and Lyudmila (1942) after poem by Alexander Pushkin. He was also author of chamber and orchestral compositions, with most popular symphonic piece Kamarinskaya (1848) and two Spanish Overtures (1845 and 1851). He composed also numerous artistic songs to romantic poems by Alexander Pushkin, Nestor von Kukolnik, Friedrich von Schiller and Adam Mickiewicz.

Galina Vishnevskaya – Songs by Rachmaninov and Glinka (1976)

   Romantic era was the time of great rise of culture in imperial Russia. During the one century Russian composers gained rated positions and become leading power in late romantic period. One of late romantic composers was Sergei Rachmaninoff, composer and pianist famous mainly for his four piano concertos and Rhapsody on a Theme of Paganini. He is remembered as brilliant pianist and his works are often present in virtuoso piano recitals, especially Preludes. His works comprise three operas, three symphonies, two string quartets, and series of choral works, many of them liturgical. And maybe the biggest amount of his works are compositions for voice with piano with famous Vocalise Op. 34 No. 14 (1912). He was composing songs to great Russian poetry, to lyrics of Ivan Bunin, Alexander Pushkin, Yakov Polonsky and Fyodor Tyutchev.
   Both composers, Glinka and Rachmaninoff are great masters of artistic song, and this part of their work was the subject of frequent renditions. One of the best is Deutsche Grammophon album with the recital of songs written by two romantic composers. Chronologic order was reversed and five Rachmaninoff songs were placed in side A of the record: Ночь печальна (Night is Mournful) Op. 26 No. 12, Не пой красавица (Beauty, Don’t Sing Anymore) Op. 4 No. 4, Музыка (Music) Op. 34 No. 8, Весенная вода (Spring Waters) Op. 14 No. 11 and Вокализ (Vocalise) Op. 34 No. 14. B side comprises 8 songs by Glinka: Сомнение (Doubt), Я помню чудное мгновение (I Remember the Wonderful Moment), Как сладко с тобой мне быть (How Sweet is to Be with You), К ней (To Her), Только узнал я тебя (I Just Found You), Венецианская Ночь (Night in Venice), Жаворонок (The Lark) and Баркарола (Barcarolle). This album of songs by Mikhail Glinka and Sergei Rachmaninoff was recorded in 1976. It is beautiful presentation of two Russian artists, singer Galina Vishnevskaya and famous cellist and conductor Mstislav Rostropovich who was also perfect pianist and sophisticated accompanist. Four stars for poetic and musical features of repertoire and for the quality of performance.

Bernard Haitink conducts the Slavic highlights

One of world’s best conductors in last decades and one of most prolific recording artists is Bernard Haitink. Born in Amsterdam, he studied in Conservatorium van Amsterdam and start career as violinist in orchestra. His rapid career became in 1954 when he started studies under direction of Ferdinand Leitner. Next year he took the post of second conductor of Netherlands Radio Union Orchestra. One year later, November 7th 1956, he made his debut with Royal Concertgebouw Orchestra (Koningklijk Concertgebouworkest). Three years later, after death of Eduard van Beinum on September 1st, 1959  he took the position of first conductor then in 1961 post of principal conductor which he shared with Eugen Jochum until 1963, when he took this post exclusively. He continued working on this position until 1988. In 1999 he was appointed as honorary conductor of Concertgebouw. In years he work with his primary orchestra, he was associated with many orchestras as a guest artist or contracted principal conductor. He was working as principal conductor with London Philharmonic Orchestra, Glyndebourne Opera, Royal Opera House Covent Garden, Boston Symphony Orchestra, Staatskapelle Dresden and Chicago Symphony Orchestra.  

In many respects Bernard Haitink is the conductor of extraordinary features. Vast majority of great conductors are individualists of extremely high self-esteem and charisma. Haitink’s charisma comes from his professionalism and diligence. Also his effictiveness was phenomenal and legendary. For this reason he’s been often drawn for most challenging performances of late romantic massive works and twentieth century symphonic music. He was widely appreciated as interpreter of nineteenth century symphonies by Beethoven, Schumann, Brahms, Tchaikovsky, Mahler and operas including operas by Igor Stravinsky he performed in Glyndebourne Opera and complete Wagner’s Der Ring des Nibelungen.  

Bernard Haitink with Concertgebouw Orchestra

The works of three Slavic composers constitute the program for the very special album of Concertgebouw orchestra and Haitink repertoire milestones - Bedřich Smetana’s Symphonic Poem No. 2 "Vltava" (The Moldau) from the cycle Ma vlást (My Fatherland), Mikhail Glinka’s Ouvertüre from the opera Ruslan and Lyudmila and Antonin Dvořak’s first five pieces from first cycle of Slavic Dances op.46. It is highly interesting album highlighting music always appreciated by public and requiring full range of both orchestra and conductor’s artistic possibilities. I guess for Bernard Haitink it was not only the matter of professional proficiency. Slavic music is not really close to musical sensitivity of artists from West Europe so he was not only the one who needs to interpret the music but also conductor creating orchestra’s style and attitude. 

The situation was even more complicated. Album was not recorded as one project. Recorded with Concertgebouw Orchestra in Amsterdam and published by Philips (6566 012) somewhere around 1970, these recordings were taken at different occasions and published before – Smetana’s Vltava in 1962, Glinka’s Overture in 1969 and Dvořak’s five parts from Slavonic dances op.46 were recorded between 1959 and 1967 – No. 1 Furiant and No. 3 Polka were recorded in 1959, No. 2 Dumka and No. 4 Sousedská were performed in 1963 and No. 5 Skočná was recorded in 1967. And it is really hard to believe these pieces were recorded in span of a decade. The rich sound of the orchestra, perfect phrasing and dramatic expression demonstrate excellent understanding of conductor’s intentions and enough good taste to catch the Slavic idiom in the perspective as it was present in romantic music.