Rachmaninov: The Bells, Op. 35 / Taneyev: John of Damascus, Op. 1

Rachmaninov: The Bells, Op. 35 / Taneyev: John of Damascus, Op. 1

Rachmaninov: The Bells, Op. 35 / Taneyev: John of Damascus, Op. 1
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Composer: Sergei Rachmaninov
Composer: Sergei Taneyev
Conductor: Mikhail Pletnev
Performer: Moscow State Chamber Choir
Edition: Music CD
Format: Import
CD Release Date: 2001-04-02
Music Label: Deutsche Grammophon
Soundtracks:
  1. The Bells, Op.35: I. Allegro, Ma Non Tanto - Marina Mescheriakova/Sergei Larin/Vladimir Chernov
  2. The Bells, Op.35: II. Lento - Adagio - Marina Mescheriakova/Sergei Larin/Vladimir Chernov
  3. The Bells, Op.35: III. Presto - Marina Mescheriakova/Sergei Larin/Vladimir Chernov
  4. The Bells, Op.35: IV. Lento Lugubre - Allegro - Andante - Marina Mescheriakova/Sergei Larin/Vladimir Chernov
  5. John Of Damascus, Op.1: I. Adagio Ma Non Troppo - The Moscow State Chm Chor/Vladimir Minin
  6. John Of Damascus, Op.1: II. Andante Sostenuto - (Attacca) - The Moscow State Chm Chor/Vladimir Minin
  7. John Of Damascus, Op.1: III. Fuga. Allegro - Moderato - The Moscow State Chm Chor/Vladimir Minin

Free Music Notes for Rachmaninov: The Bells, Op. 35 / Taneyev: John of Damascus, Op. 1

Free Music Review: Dutoit or Pletnev?
Hit: 5 Stars

While the classic recording of this wonderfully kaleidoscopic piece might be the old Kondrashin on Melodiya, if you want modern digital sound you are likely to go for either of these two - although the couplings might heavily influence your decision.

In brief, Pletnev has the more sumptuous sound and takes a more intense, measured approach to Rachmaninov's similarly rich, layered score, while Dutoit has slightly leaner sound and is sharper and more propulsive in his interpretation - yet their timings are identical for the second Lento movement. My feeling is that Dutoit has the better overview, presenting the four movements as a true symphony whereas Pletnev brings greater impact to key moments such as the great choral outburst at "Skov" in that second "golden bells" section.

Regarding the choirs, the Philadelphians almost convince us of their ability to suggest Russian authenticity; they are a bigger outfit than the Moscow State Chamber Choir who, while obviously Russian in their attack and depth of tone, are very slightly underpowered by comparison but compensate for lack of sheer weight with more pointed underlining of the words. There is less clarity and definition in the singing of Dutoit's choir - which might also be an effect of a more blurred sound in the engineering and in the third, purely choral movement, of Dutoit's option for the denser vocal arrangement.

Dutoit has more conventional, neater-voiced soloists: Kaludov is decidedly more ingratiating of tone than the grainy, rough-voiced Larin but the latter is more characterful. Both sopranos are the real deal, making a voluminous Russian sound, but Mescheriakova, although just a little clumsy, is more exciting than the more delicate, nuanced Pendachanska. Both are very good indeed, just as are both celebrated the Russian baritones; Leiferkus has the more dangerous edge in his tone and Chernov the more beautiful voice.

Pletnev's unusual choice of coupling in Taneyev's John of Damascus might be a deciding factor for some. It is a very grand, noble choral composition, fusing Russian folk and liturgical music with strict counterpoint in the style of Bach; the concluding fugue is exciting in its own right and much more than a mere academic exercise. The chance to own and hear this might prove more attractive than Dutoit's more predictable coupling with what is arguably some of Rachmaninov's less striking choral writing. This, in combination with richer sound and Pletnev's greater depth of feeling, inclines me to the DG disc.
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More free music notes:
1

Rachmaninov: The Bells, Op. 35 / Taneyev: John of Damascus, Op. 1 Poster

Rachmaninov allegedly considered The Bells to be his best work, and it is not difficult to hear why. Written in 1913, it has a freshness of invention that is irresistible. Perhaps the text (an adaptation of an Edgar Allan Poe poem) struck a chord with this composer's sensibilities: different bells symbolize different facets of existence. The piece deserves more frequent airing, and it is to be hoped that Mikhail Pletnev and his Russian forces help raise awareness of it. The soloists are superb (Mescheriakova is particularly impressive), but the real star is the Moscow State Chamber Choir. This is a worthy companion to Pletnev's accounts of Rachmaninov orchestral works. Also included is a piece by Sergei Taneyev, a composer who should be more widely appreciated. Too often castigated in the textbooks for being overly academic, his works nevertheless demonstrate a creative originality that has immediate appeal. The cantata John of Damascus is something of a find. The Russian National Orchestra creates a superbly chilly atmosphere in the first movement, and once again the choir triumphs with fervent singing that conveys belief in the quality of this music. The Bells ranks as a fine modern performance, but the Taneyev might prove even more fascinating. --Colin Clarke

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