With four recently issued or reissued discs of Rachmaninov's Vespers—by Sveshnikov, Polianski (both Le Chant du Monde/Harmonia Mundi), Robev (Sound Products/Target), and Rostropovich (Erato/RCA)—and now this fifth version, the note writer's plaint about the work's current neglect seems to have been well answered. It is marvellous music, strong in its sense of tradition yet yielding to different interpretative approaches. Rostropovich's version I thought rather too light and emotive, and Robev's plain especially beside the classic 1974 Sveshnikov and the newer Polianski. Chernushenko's version is in some ways stronger, certainly more immediate than Polianski's (including the recorded sound); yet the work's contemplative, devotional nature is not necessarily helped by exteriorizing the prayers, as is done by Rostropovich. Greater drama, in fact, is contained in some of Polianski's powerfully controlled meditations. Chernushenko is excellent in the beautiful ''Nunc Dimittis'' (or ''Nyne otpushchayeshi''), pacing the music beautifully towards its climax and sinking gravely and steadily down to the astonishing low B flat: he has basses who can hold the note for a seeming eternity. His contralto, Jeanne Polvtsova, is a little too dramatic, though she is responding to the spirit of the performance; Sergei Rokozitsa sings simply and with a somewhat plaintive tone.
Choice should lie between Polianski and the new Chernushenko, I should say, with much to recommend both—Polianski inward though positive and well-judged, Chernushenko more forward and colourful. The note gives a reasonably fair and helpful account of the work, though a translation is lacking: the summaries alternate uneasily between the Authorized Version and a limper modern manner, so that we even get ''thou'' and ''your'' in the same sentence.'