Grokhovsky Orchestral Works

Perky and pleasant performances of light but well-crafted mid-century Soviet music

Record and Artist Details

Composer or Director: Vyacheslav Grokhovsky

Genre:

Orchestral

Label: Cameo

Media Format: CD or Download

Media Runtime: 63

Mastering:

Stereo
DDD

Catalogue Number: CAMEO2016

Tracks:

Composition Artist Credit
Russian Caprice Vyacheslav Grokhovsky, Composer
Moscow Radio Symphony Orchestra
Valery Grokhovsky, Piano
Vyacheslav Grokhovsky, Composer
Vyacheslav Grokhovsky, Conductor
(The) Enchanted Wanderer Vyacheslav Grokhovsky, Composer
Moscow Radio Symphony Orchestra
Vyacheslav Grokhovsky, Composer
Vyacheslav Grokhovsky, Conductor
(3) Fairy Tales by Hans Andersen Vyacheslav Grokhovsky, Composer
Moscow Radio Symphony Orchestra
Valery Grokhovsky, Piano
Vyacheslav Grokhovsky, Composer
Vyacheslav Grokhovsky, Conductor
Gypsy Rhapsody Vyacheslav Grokhovsky, Composer
Moscow Radio Symphony Orchestra
Vladimir Ivanov, Violin
Vladimir Ivanov, Violin
Vladimir Ivanov, Violin
Vladimir Ivanov, Violin
Vyacheslav Grokhovsky, Composer
Vyacheslav Grokhovsky, Conductor
Born in Moscow in 1945, Vyacheslav Grokhovsky studied composition with Khachaturian and has had a number of his straightforward, well-crafted works recorded in Russia and the former Czechoslovakia. For anyone interested in the lighter side of Soviet music – pure entertainment, instant accessibility, references to familiar Russian repertoire, not a hint of irony – this disc should be just the thing.

The most rewarding piece, I would say, is the suite for piano and orchestra based on three Hans Christian Andersen fairy tales. Musically, this is a kind of appendix to Prokofiev’s Peter and the Wolf, though without the running commentary and, it has to be said, without the edge of inspiration. The Enchanted Wanderer, ‘a Quixotic story of the Russian people seen through the eyes of an illiterate sage,’ also has its charming moments. In the Russian Caprice and Gypsy Rhapsody the writing, though always easy on the ear, is rather less characterful.

Performances are nicely perky, the composer’s brother Valery evidently relishing the effective piano writing, and the 1996 Moscow recordings are perfectly serviceable. Campion’s booklet is only minimally informative, not even supplying dates for the individual works; but bravo for its enterprise in uncovering this by-way in the Soviet repertoire.

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