1. Liturgia Domestica Op. 79: Great Litany
2. Liturgia Domestica Op. 79: Antiphon I
3. Liturgia Domestica Op. 79: Antiphon II
4. Liturgia Domestica Op. 79: Gloria & Unigenitus
5. Liturgia Domestica Op. 79: Trisagion
6. Liturgia Domestica Op. 79: After The Gospel
7. Liturgia Domestica Op. 79: Litany Of Supplication
8. Liturgia Domestica Op. 79: Cherubic Hymn
9. Liturgia Domestica Op. 79: After The Cherubic Hymn
10. Liturgia Domestica Op. 79: Credo
11. Liturgia Domestica Op. 79: Pax Hominibus
12. Liturgia Domestica Op. 79: Hymn Of The Blessed Virgin
13. Liturgia Domestica Op. 79: Pater Noster
14. Liturgia Domestica Op. 79: Laudate Deum
15. Liturgia Domestica Op. 79: End Of The Liturgy

Boris Christoff - bass
Bulgarian National Choir & Radio CO
Georgi  Robev – directo, 1979

The long-lived Alexander Grechaninov was, until the latter twentieth century, a largely neglected figure seen as having written a few worthwhile liturgical works and some attractive children's music, but little more. Then, his five symphonies and other orchestral compositions garnered some attention, while his many stage works awaited rediscovery. Stylistically, he was very conservative, and as neo-Classical, serial, and other progressive techniques took hold in the twentieth century, his music was increasingly viewed as outdated. Had it not been for the stubborn opposition of his uneducated father, who could barely read, Grechaninov may have developed sooner. He began study on the piano at the relatively late age of 14, mainly owing to the urging of a caring sister-in-law. Grechaninov enrolled at the Moscow Conservatory in 1881 over the objections of his father. There he studied piano first with Nikolai Kashkin, then later with Vasily Safonov. He also took instruction in composition from Taneyev and Arensky, the latter largely in fugal writing. He left Moscow in 1890 for further study with Rimsky-Korsakov at the St. Petersburg Conservatory. His Concert Overture (1892 - 1893) gave Grechaninov his first success, and his 1894 String Quartet captured a prize at the Belyayev Chamber Music Competition. He supported himself and his wife (whom he married in 1891) during this time as a piano teacher. Perhaps his greatest success in the nineteenth century was the 1895 premiere of his Symphony No. 1 (led by Rimsky-Korsakov). In 1896, he relocated to Moscow once again, where he taught piano and worked on several compositions, chief among them his opera Dobrinya Nikitich (1895 - 1901) and the first of his four Liturgies of St. John Chrysostom (1897). He also wrote incidental music for plays during this time, such as his score for The Death of Ivan the Terrible (1896). In the first decade of the twentieth century, Grechaninov arranged many songs of ethnic origin for children, producing several popular numbers and giving him great prominence among Russian composers. In 1906, he accepted teaching posts at the Moscow Conservatory and Gnessin School of Music. Throughout his career, Grechaninov composed many works in the sacred genre and in recognition of this continuing work, the Tsarist government granted him a yearly stipend of 2,000 rubles. After the Bolshevik Revolution, he lost the stipend and ultimately his faith in his homeland, feeling his religious and political convictions were at odds with those of the Communist regime. After several trips abroad, he emigrated to Paris in 1925, where he established a career as a pianist and still managed to devote much time to composition. He completed his third St. John Chrysostom Liturgy there (1917 - 1926), as well as his Suite for cello and orchestra (1919 - 1929). In 1929, he made the first of several trips to the United States, a country he felt increasingly drawn toward. In 1939, he emigrated to the United States, ultimately making New York his home (1940). He continued to compose in his adopted homeland, especially in the sacred realm, producing several important works, including Et in terra pax, a Roman Catholic Mass (1942). He also wrote chamber works, but his output steadily declined in the 1940s. He became a U.S. citizen in 1949, at the age of 85. His last composition came in 1950, the piano work Lettres amicales. Grechaninov was well enough to attend a 1954 concert in New York Town Hall, held to celebrate his 90th birthday. ---Robert Cummings, Rovi

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	premiere recording
	Missa oecumenica, Op. 142 	42:02
1 	I 	Kyrie 	5:59
2 	II 	Gloria 	5:15
3 	III 	Credo 	8:53
4 	IV 	Sanctus 	6:27
5 	V 	Benedictus 	6:21
6 	VI 	Agnus Dei 	9:04

  	 premiere recording 
	Symphony No. 5, Op. 153 	37:12
  	in G minor - g-Moll - sol mineur 
7 	I 	Maestoso - 	10:33
8 	II 	Andante - 	11:40
9 	III 	Scherzo: Allegro - 	5:46
10 	IV 	Finale: Allegro moderato 	9:12

 	Tatiana Sharova - soprano
 	Ludmila Kuznetsova - mezzo-soprano
 	Oleg Dolgov - tenor
 	Dmitry Fadeyev - bass
 	Margarita Koroleva - organ
 	Russian State Symphonic Cappella 
 	Russian State Symphony Orchestra
   	Valeri Polyansky – conductor

This is a wonderful disc and a glorious conclusion to Chandos's survey of Grechaninov's symphonies. Stylistically, Grechaninov's music is of course firmly rooted in the romantic tonal language of the Russian Silver Age, and there is hardly a trace of anything more modern, even though the symphony was written as late as 1936 (and the Mass not much earlier). That is not to deny that there is a certain individuality to the symphony even if the main influences, Glazunov and Borodin in particular, are undeniably present - the well-constructed and hugely appealing first movement seems to offer explicit homages to Borodin (maybe mostly because of the opening figure).

The second movement is the only one to enter darker waters - and as usual with Grechaninov, it is also the weakest movement (although it is still appealing and interesting, and the funeral march theme is stirring). The third movement, however, is another glorious, brilliant and tuneful scherzo in the best Russian tradition. The finale is also a superbly life-affirming, optimistic and wonderfully memorable affair. In short, this is a work of unbridled optimism given the time of writing, but it is a magnificent work, perhaps even a great one; atmospheric, well-crafted, glitteringly scored and full of superb themes and memorable melodic material.

The Missa oecumenica is a splendid work as well. Premiered by Koussevitzky, the Missa oecumenica was supposed to address members of a variety of religious traditions (not only the orthodox, as most of Grechaninov's earlier church works). As a result (it seems), Grechaninov's musical language became slightly more eclectic as well - it is still firmly rooted in the Russian Silver Age style, but there are Gallic touches as well (even, at points, Les Six, it seems). It is a marvelously inventive work whose numbers range from the grippingly serene to the almost catchy. Grechaninov's melodies are strong, and the despite the somewhat eclectic style, he brings the various elements very convincingly together. It is, in short, another superb work.

The Russian State Symphonic Cappell makes as good a case for this work as one could imagine, and the soloists are very fine. Indeed, the performances are very good throughout; the orchestral playing is spirited and colorful, and Polyansky is not afraid to play up the sheer excitement of the music (both, in fact, though of course in particular the symphony). There are perhaps a few rough patches in the strings, but it doesn't detract from the overall impression. This is a magnificent disc that really should not be missed by anyone. I have no complaints about the sound quality - the sound in the symphony is a little drier than in the Missa (Chandos used different recording venues); that was of course done on purpose and works very well. Very strongly recommended. G.D. (Norway), amazon.com

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