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Hyperion Records

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Gamayun, the prophetic bird (1897) by Viktor Vasnetsov (1848-1926)
Track(s) taken from CDA67834
Recording details: January 2010
Henry Wood Hall, London, United Kingdom
Produced by Andrew Keener
Engineered by Simon Eadon
Release date: May 2011
Total duration: 25 minutes 12 seconds

'This isn't the first CD to group Shostakovich's two piano trios with his late Romances to poems by Alexander Blok but, for the freshness and excellence in every aspect of performance and production, it would be my pick' (Gramophone)

'One might be forgiven for wondering whether the market for this particular repertory has already reached saturation point. Fortunately such concerns are tempered when considering The Florestan Trio's hugely impressive track record and their unwavering capacity to shed new light on familiar repertory … the Florestans fully capture the youthful adour and impetuosity of the First Trio. They are in equally inspired form in the Seven Blok Romances providing mesmerising and powerfully etched accompaniments to Susan Gritton's achingly beautiful singing' (BBC Music Magazine)

'The Florestan Trio performs with terrific presence, precision, immediacy and palpable atmosphere. They delve beneath the surface to find and project the nuances of expression that lend these works their special flavour of soul searching. Even the First Trio—a work dedicated to one of Shostakovich’s loves, Tatyana Glivenko—seems to inhabit a world coloured more by nostalgia and anxiety than out-and-out ardour. In the Second Trio these feelings are intensified even further' (The Daily Telegraph)

'Usually heard in 19th-century repertoire, the Trio close their recording career with typical panache, playing chamber pieces by Shostakovich. Superb playing throughout; they will be missed' (The Times)

'The Florestans dig deep to reveal the secrets of this bleak and deeply moving music' (The Sunday Times)

'The Florestan Trio's new Hyperion recording of these works could not be bettered … Marwood's opening ghostly harmonics lure us into the Second Trio with promises of emotional intensity that do not let up until the final chord has had its say' (The New Zealand Herald)

'A recording to cherish then from a trio of musicians who, from one recording to the next have always played to the highest standards' (Classical Music Sentinel)

Sem Stikhotvoreniy A Bloka
composer
1967
author of text

Introduction  EnglishFrançaisDeutsch
Ill health, which had already struck Shostakovich at the time of his first Piano Trio, was to pursue him throughout his life. Forty-four years later, in 1967, it was while he was recovering from a heart attack that he wrote the Seven Romances on Poems of Alexander Blok Op 127. The cellist Mstislav Rostropovich, for whom he had recently written a second cello concerto, had asked Shostakovich if he would compose some vocalises for him to perform with his wife, soprano Galina Vishnevskaya. Rostropovich recalled that Shostakovich had at first not responded to his request. But then, when he had completed the cycle of seven songs, ‘he said to me, “Slava, you understand, you see, I wanted to satisfy your request—I found some suitable texts to set. And I wrote the first song as you wanted, ‘Ophelia’s Song’ for voice and cello. But then I started the second song with a whacking great pizzicato on the cello, and I realized that I didn’t have sufficient instruments to continue, so I added the violin and piano”’ (interviewed by Elizabeth Wilson in her definitive volume, Shostakovich: a Life Remembered, second edition, 2006).

Shostakovich was sixty, and haunted by thoughts of mortality which were to crystallize in the Symphony No 14 two years later. That work, which was partly inspired by Musorgsky’s Songs and Dances of Death, consists of bleak settings of poems by various authors on war, destruction and tyranny, and Shostakovich declared: ‘Everything that I have written until now over these long years has merely served as a preparation for this work.’ Of all the preceding works, the settings of seven poems by Blok are most obviously linked to this train of thought.

Rather than writing a wordless vocalise, as Rostropovich had suggested, Shostakovich turned to the poetry of the great Russian symbolist Alexander Blok (1880–1921). Blok has often been compared to Pushkin, not just for his poetic gifts, but also for his compassion for human beings oppressed by war and tyranny. The texts that Shostakovich chose for this cycle are characteristically oblique and evocative, speaking of personal joys and suffering, but hinting at the wider fate of humanity at large. Shostakovich’s settings place the poems in a world between bleakness and serenity, an ambiguity that was to characterize his music in the remaining eight years of his life.

The seven songs bring the voice and instruments together in all possible combinations, with the complete trio playing only in the final song. ‘Ophelia’s Song’ is for voice and cello, the two interweaving in sad counterpoint as Ophelia mourns her loss of Hamlet and the distance, physical and emotional, that separates them. It is inspired by Ophelia’s mad scene, but poignantly shows her sane enough to experience the full force of her loss. ‘Gamayun, the prophet bird’ is for voice and piano, opening with a procession of stark octaves which becomes gradually more and more agitated. The poem was inspired by a painting by Viktor Vasnetsov (reproduced on the cover of this booklet), which shows the prophet bird with the head of a young woman perched in a tree, her black wings folded in front of her like a cloak, staring out over an empty, watery landscape in a haunting twilight. Blok’s prophet bird foresees the devastation of Russia by the Tartars in the thirteenth century. ‘We were together’ is scored for voice and violin. This is the gentlest and most contented of the songs, with the violin playing a melody almost like a folk song. But even here, the murmuring of the stream becomes a quietly agitated motif, and the song ends with a touch of uncertainty. ‘The city sleeps’ is set with cello and piano. Over deep octaves in the piano, the cello plays a chorale-like succession of two-part chords. The premonition of troubled times, seen in the glow of the dawn, is reflected in the strange twists of harmony that disturb the serenity of the chorale. This leads straight into ‘The Storm’, for voice, violin and piano. The glassy sound of rapid repeated notes on the bridge of the violin, and fierce dotted rhythms in the piano, build to the most tumultuous climax in the whole cycle. The song ends abruptly, leaving a sustained cello note leading into ‘Mysterious signs’, which has violin and cello without the piano. This is the most elusive of the poems, full of foreboding, and Shostakovich plants a ‘mysterious sign’ of his own at the beginning, as the cello plays a twelve-note row—a motif that recurs through the song, but is not used in any ‘serial’, Schoenberg-like way. Once more, sustained notes in cello and violin lead straight on to the final song, which brings together the four musicians for the first and only time. Shostakovich added the title ‘Music’ to the untitled poem. The song proceeds in the deepest calm, until it is interrupted by a moment of intense anguish as the poem comes to an end, after which the music settles again. But the deep calm of the opening is not quite restored, the serenity being punctuated by an ominous rhythm from the piano in the final bars.

In February 1967 Shostakovich played and sang the newly composed songs to his friend Isaak Glikman: ‘In the twilight of the dying day, he played me the songs, leaving me with an unforgettable impression. In them, it seems to me, Shostakovich had written his confession, maintaining hope and belief in the future despite his sufferings.’

from notes by Robert Philip © 2011

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