SHOSTAKOVICH Choral Music. Tatyana Kravchenko, Moscow Academy of Choral Art / Victor Popov. Brilliant Classics

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Shostakovich Choral Music Moscow Academy Victor Popov Brilliant Classics

  • Shostakovich Choral Music Moscow Academy Victor Popov Brilliant Classics
  • Shostakovich Choral Music Moscow Academy Victor Popov Brilliant Classics

SHOSTAKOVICH

Choral Music

Ten Poems on texts by revolutionary poets Op. 88

1 No.1: Boldly, friends, on we march! 1’09

2 No.2: One of many 4’21

3 No.3: Onto the streets! 1’29

4 No.4: The meeting in transit to exile 2’36

5 No.5: To those condemned to death 3’51

6 No.6: The Ninth of January7’42

7 No.7: The valleys have become silent 4’46

8 No.8: They are the victors 1’33

9 No.9: May Day Song 2’44

10 No.10: Song 5’05

Ten Russian Folk songs for Soloists, Mixed Chorus and Piano

11 All of a sudden there was a clap of thunder over Moscow2’04

12 Beyond the mountains, beyond the valleys 1’12

13 Out of the forest of spears and swords 2’35

14 Nights are dark, the clouds are menacing 2’22

15 A little cuckoo cuckoos 3’16

16 The Splinter 3’35

17 Fir grove, my fir grove 1’08

18 In my dear father’s green garden 4’04

19 I told my sweetheart 4’16

20 What a song 2’41

Total time62’41

Chorus of the MOSCOW Academy of Choral Art

Tatyana Kravchenko piano

Victor Popov conductor

Only available recording as a single issue of these works.

As an “obedient” Soviet artist Shostakovich set texts of revolutionary poets to music. The result is vintage Shostakovich: under the blatant populist message of the text we hear a melancholy and tender heart. The choral arrangements of Russian Folk Songs derive inspiration from the rich Russian folk culture, and Russian Orthodox Chant (though of course in a hidden way, as it was forbidden by the authorities).

Excellent performances by Russian forces.

These choruses are not (or not entirely) the tub-thumping exercises in blatant jingoistic rabble-rousing that you might expect, but contain many moments of poetry that make them secular rivals to earlier works by Tchaikovsky and Rachmaninov which draw from Russia's great Orthodox tradition of choral music.

In Stalin's Russia such an option was closed to Shostakovich, of course, even had he wished to explore it, but instead he used the poetry of Revolutionary leaders and imbued it both with his own, bittersweet harmonic vocabulary while never losing sight of the powerful character of Russian choruses for whom he would be writing. One such, Moscow-based, performs the two cycles on this recording, and they naturally have the idiom, and language, under their skins.

Brilliant Classics 9414

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