A. Tcherepnin Chamber Orchestral Works
View record and artist detailsRecord and Artist Details
Composer or Director: Alexander (Nikolayevich) Tcherepnin
Label: Olympia
Magazine Review Date: 3/1997
Media Format: CD or Download
Media Runtime: 68
Mastering:
DDD
Catalogue Number: OCD584
Tracks:
| Composition | Artist Credit |
|---|---|
| Chamber Concerto |
Alexander (Nikolayevich) Tcherepnin, Composer
Alexander (Nikolayevich) Tcherepnin, Composer Alexander Rudin, Conductor Musica Viva Chamber Orchestra Nazar Kozhukhar, Violin Olga Ivusheikova, Flute |
| Rhapsodie géorgienne |
Alexander (Nikolayevich) Tcherepnin, Composer
Alexander (Nikolayevich) Tcherepnin, Composer Alexander Rudin, Cello Musica Viva Chamber Orchestra Nikolai Alexeiev, Conductor |
| (3) Pieces |
Alexander (Nikolayevich) Tcherepnin, Composer
Alexander (Nikolayevich) Tcherepnin, Composer Alexander Rudin, Cello Musica Viva Chamber Orchestra Nikolai Alexeiev, Conductor |
| Serenade |
Alexander (Nikolayevich) Tcherepnin, Composer
Alexander (Nikolayevich) Tcherepnin, Composer Alexander Rudin, Conductor Musica Viva Chamber Orchestra |
Author:
A true citizen of the world, Alexander Tcherepnin stands in interesting musical relation to his colour-conscious father Nikolai (he of the first original Diaghilev ballet score, Le Pavilion d’Armide, and the charmers on Pletnev’s latest composite disc from DG, 7/96). Three of the works featured here put together a picture of a skilful craftsman forging his way on to the cosmopolitan scene of 1920s Europe. Donaueschingen was the destination of the Chamber Concerto – as one might easily guess from the neo-classical chatter, the Hindemithian marches and scale (the bulk of Hindemith’s Kammermusik still lay in the future). Fashionable preoccupation with sporting themes informs the stop-start fugal activity of the third piece in Op. 37, “Pour un entrainement de boxe”, while its predecessors evoke, collage-like, the darker questions of the time. What Tcherepnin manages to present as his own credentials in the sea of new music are a Georgian-derived scale – he studied for some time in Tiflis (as Tbilisi was then known), where his father was director of the Conservatory – and, in the Rapsodie georgienne, a chaste interest in Georgian style, as unfettered by subjective coloration as the previous Caucasian snapshots of Ippolitov-Ivanov.
Rudin as cellist captures the inflexions and the dark, singing themes to perfection, and his orchestra complement him well (Tcherepnin’s careful scoring makes that easy enough). Unfortunately the Musica Viva strings aren’t collectively well-served by the recording: acidic and grainy in close-up, not a companionable proposition in the sparse gestures of the late (1967) and in this context unappealing Serenade; though the dissonant climax of the Op. 37 Mystere has something of the raw power that its elegiac basis surely requires.
A not unattractive programme as a whole, then, though for a rounded portrait something from Tcherepnin’s impressionable years in the Far East would have been needed.'
Rudin as cellist captures the inflexions and the dark, singing themes to perfection, and his orchestra complement him well (Tcherepnin’s careful scoring makes that easy enough). Unfortunately the Musica Viva strings aren’t collectively well-served by the recording: acidic and grainy in close-up, not a companionable proposition in the sparse gestures of the late (1967) and in this context unappealing Serenade; though the dissonant climax of the Op. 37 Mystere has something of the raw power that its elegiac basis surely requires.
A not unattractive programme as a whole, then, though for a rounded portrait something from Tcherepnin’s impressionable years in the Far East would have been needed.'
A. Tcherepnin Chamber Orchestral Works
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