Balakirev Russia symphonic poem Hamilton Harty LPO
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This is a 1933 recording made released in the Columbia History of Music series.
The following extract is from The Gramophone November 1933:
Balakirev (1836-1910) was the inspirer and teacher of Russian nationalists. The conception of Russia was that of a celebration of the thousandth anniversary of individuality as a nationthough the men who in 862 drove back the Finns and Lithuanians, and heaven knows what invading races, were Scandinavians Rus, in the old name. Rurik, their chief, and his descendants, consolidating from Kiev and Novgorod, colonised across the plains, and a nation was born. Here are the familiar strains (the opening one reminding us of the Volga song) standing in the composers mind for stirring scenes of Russian history and aspects of the national spirit. There are folky tunes serious and gay, with a little Easternism, and something that seems borrowed from the general European culture ; winding up with what Mr. Newmarch (Grove) tells us is said to breathe a prayer for the future welfare of the country. I wonder how that has been answered? There is little development, and that of no importance. The tunes are the thing, and whatever of faith and fullfilment they stood for in the composers mind. All easy to hear, genial, respectworthy for its purpose rather than as a musical structure warmly played and recorded by a new process which, rightly, is much praised.
The following extract is from The Gramophone November 1933:
Balakirev (1836-1910) was the inspirer and teacher of Russian nationalists. The conception of Russia was that of a celebration of the thousandth anniversary of individuality as a nationthough the men who in 862 drove back the Finns and Lithuanians, and heaven knows what invading races, were Scandinavians Rus, in the old name. Rurik, their chief, and his descendants, consolidating from Kiev and Novgorod, colonised across the plains, and a nation was born. Here are the familiar strains (the opening one reminding us of the Volga song) standing in the composers mind for stirring scenes of Russian history and aspects of the national spirit. There are folky tunes serious and gay, with a little Easternism, and something that seems borrowed from the general European culture ; winding up with what Mr. Newmarch (Grove) tells us is said to breathe a prayer for the future welfare of the country. I wonder how that has been answered? There is little development, and that of no importance. The tunes are the thing, and whatever of faith and fullfilment they stood for in the composers mind. All easy to hear, genial, respectworthy for its purpose rather than as a musical structure warmly played and recorded by a new process which, rightly, is much praised.
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