Should he be remembered chiefly for his masterly realisations of Borodin’s unfinished compositions (notably the opera Prince Igor and the third symphony), or as Shostakovich’s mentor at the Leningrad Conservatoire, this would be to devalue grossly the appeal of his own richly rewarding music. Composed in March 1886, with the experience of two of his seven string quartets already behind him, this haunting little piece actually grew out of an Adagio for two clarinets. Although it was orchestrated the following month the composer retained a preference for the more intimate chamber version: firmly in the Russian tradition (sounding at times more Borodin-like than Borodin!): a style at once so recognisable that the national characteristic supposedly evoked by the title barely adds a foreign accent: the colourful imagination of a confirmed Russian, dreaming of far-off lands.
from notes by Alan George, Duncan Druce & William Sweeney © 2006
|Brahms: Clarinet Quintet & works by Mozart, Glazunov & Sweeney|
Clarinettist Lesley Schatzberger and the Fitzwilliam String Quartet, both of whom have established well-deserved reputations for thoughtfully delivered and historically considered performances, present a new recording of works by Brahms, Mozart, G ...» More