Search - Jose Serebrier / Royal Scottish National Orchestra :: Symphony No 6/LA Mer Incidental Music to Salome

Though not the most exploratory of albums one may have wishe

David A. Hollingsworth | Washington, DC USA | 09/27/2008

(4 out of 5 stars)

"This disc is quite a treat. José Serebrier and the Royal Scottish National Orchestra (RSNO) comes up huge once again in Alexander Glazunov's symphony (in this case here the Sixth), as well as La Mer (The Sea) and the Salome excerpts. Their rendition of the symphony is quite frankly the best I've heard in years (though not that I would do without Fedoseyev's or Golovanov's electrifying treatment of the score, or even Yondani Butt's rather magisterial approach in a very atmospheric yet highly revealing ASV sound). Serebrier takes an urgent, no nonsense, Tchaikovskian view of the symphony, reminding us why not only Rimsky-Korsakov thought so highly of the piece, but also why Rakhmaninov, who blamed Glazunov for the disastrous 1897 premiere of his own First Symphony, not only transformed the work for piano duet, but also conducted it during his short tenure at the Bolshoi. After painting a rather brooding atmosphere in the first movement's introduction, Serebrier and his orchestra really fire things up in its ensuing development (the climax, curiously with a cymbal clash, is quite hair-raising). The strings are great, alert, and full-bodied, while the brass is especially imposing and in your face during the symphony's heated passages, yet not so overpowering so as to take away the subtlety in much of the writing. And how about the timpanist?! Just splendid involvement throughout. The middle movements goes on well enough: warm, straightforward, logical, not so idiosyncratic yet full of artistry, while the finale is nicely held very well in Serebrier's hands, not allowing Glazunov's penchant for overdevelopment to take away from the overall exhilarating experience now before us in this new album. And so, while the symphony may not be a masterpiece for some (and the argument over its true value still lingers on), Serebrier and his team will definitely have you think twice.



To my mind, his symphonic fantasy The Sea (1889) is a masterpiece. And it is likewise very well-played, revealing more of the inner details not so readily noticeable in Jarvi's otherwise more expansive perspective of the score under the more reverberant Chandos recording. But while Serebrier's take of the piece is praiseworthy in its own right, it is Jarvi's grip that I find more satisfying and strikingly awesome. His tempi are better measured and more naturally flowing while the same Royal Scottish National Orchestra respond with total coherence, flair, and vitality (especially in their portrayal of the storm, which has much more of a dash and excitability than here). Then again, to Warner's credit (especially after subsequent hearings), the intricate details of this wonderful score are bought out more readily than in Chandos (even though the woodwinds may be a bit too close for comfort). But is Jarvi's approach too Wagnerian in its majestics? Perhaps, though not necessarily. Then again, Glazunov, as with a number of Russian composers, was knocked over by Wagner's music by that time and it is obvious in this fantasy that he had learned a thing or two from it. So, if Jarvi remains (perhaps too) literal with the score, it is Serebrier who offers a different perspective that shows other facets of Glazunov's creative and contrapuntal geniuses. Musical taste is what it comes down to. But for me, Jarvi remains on the top of the heap as far as this piece is concerned.



The Introduction and Dance from Salome is quite an effective foretaste to the composer's later incidental score for Tsar Iudeyskiy (and more or less in the worlds of Mlada and The Golden Cockerel). It is a sumptuous score and Serebrier renders it with admirable panache. But do we already have Polyansky's highly imgainative take of the piece that couples Tsar Iudeyskiy in a Chandos album (and with his highly alert, well-blended Russian State Symphony truly at his disposal)? So why include it here when there are still compositions of Glazunov we have yet to hear, such as the Fantasy for Balalaika & Orchestra or the Oriental Suite he composed in 1895?



In sum, not an entirely lucky issue as far as programme is concerned. But the pinpoint, genuine, `in your blood' performances by everyone involved, excellent recording all-round, and the overall presentation, makes this album a desirable acquisition.

"