Shchedrin Carmen Suite etc
A ‘hifi spectacular’ with impact‚ even if most of the music is more clever than meaningful
View record and artist detailsRecord and Artist Details
Composer or Director: Rodion Konstantinovich Shchedrin
Label: DG
Magazine Review Date: 9/2001
Media Format: CD or Download
Media Runtime: 62
Mastering:
DDD
Catalogue Number: 471 136-2GH
Tracks:
Composition | Artist Credit |
---|---|
(The) Carmen Ballet |
Rodion Konstantinovich Shchedrin, Composer
Mikhail Pletnev, Conductor Rodion Konstantinovich Shchedrin, Composer Russian National Orchestra |
Concerto for Orchestra No. 1, 'Naughty Limericks' |
Rodion Konstantinovich Shchedrin, Composer
Mikhail Pletnev, Conductor Rodion Konstantinovich Shchedrin, Composer Russian National Orchestra |
Concerto for Orchestra No. 2, 'Chimes' |
Rodion Konstantinovich Shchedrin, Composer
Mikhail Pletnev, Conductor Rodion Konstantinovich Shchedrin, Composer Russian National Orchestra |
Author:
By coincidence‚ just before hearing this disc I chanced upon Stan Kenton’s allWagner LP from the 1960s (STO2217). ‘File under jazz’ says Capitol’s spine‚ but Kenton’s evocative handling of Tristan’s Prelude is anything but ‘jazzed up’. In fact‚ if you take the OED’s secondary definition of jazz as ‘fantastic designs or vivid patterns’‚ Rodion Shchedrin’s 1967 Carmen Suite is a lot more jazzy than Kenton’s contemporaneous Tristan. It’s also brash‚ gimmicky and more obviously out for effect. And yet the formula sortof works: strings (here spatially divided) and percussion shuffling hotfoot through some of Bizet’s best tunes.
The Introduction becomes a door chime of the ‘Habanera’‚ the ‘Boléro’ is L’Arlésienne’s ‘Farandole’ (truncated to fit a minute) and ‘Toréador’ brilliantly dispatches the skeleton of Bizet’s original among the pizzicatos‚ without quoting the top line. The eerie scene between the Toreador and Carmen – here Shchedrin’s transcription really does sound very Russian – is based on music from The Fair Maid of Perth‚ but brace your ears for the clatter of bells that follows with the Adagio. You also get the Card Scene‚ the Flower Song and the finale‚ which in this extremely dynamic new recording under Mikhail Pletnev makes a more dramatic impression than Gennady Rozhdestvensky’s good old Melodiya recording. The tempo is brisker‚ and the string choirs clearer‚ but elsewhere Rozhdestvensky’s performance has marginally more ‘umph’. It’s still the most exciting Shchedrin/Bizet on disc‚ though soundwise‚ this latest recording presents the fuller sound frame.
The fillups are fun‚ or at least the ‘Naughty Limericks’ (or ‘Merry Ditties’ as they were once known here) are‚ pure slapstick‚ with rasping trombones and squeezebox rhythms. The last version I heard was Leonard Bernstein’s in the New York Philharmonic’s newest bumper collection‚ a marvellous performance‚ but Pletnev’s dryer manner also works well. ‘The Chimes’ is less fervid than on Svetlanov’s famous live Melodiya account‚ where the ringing is wilder‚ but the closing pages are very atmospheric.
DG’s recordings (Moscow State Conservatory‚ spring 1998) are more obviously staged for the ‘hifi’ market than other Pletnev/Russian National Orchestra recordings from the same stable – especially in Carmen – but the engineering certainly suits the music. It’s worth a spin‚ but to my ears it all sounds terribly dated‚ a bit like one of those flashback TV shows that home in on some random decade from your distant past. The tricks don’t wear terribly well‚ and you can’t say that of Stan Kenton.
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