1 Autumn	00:02:23 
2 I Left My Home Behind	00:02:18 
3 Open Before Me, O My Guardian Angel 	00:02:55 
4 Silver Path 	00:02:37 
5 Russia Cast Adrift 	00:02:18 
6 Simon, Peter... Where Are You? Come To Me 		00:03:39 
7 Where Are You, O My Father's House 		00:02:53 
8 Beyond The Hills Of The Milky Way 	00:01:34 
9 It Sounds, It Sounds, The Fateful Trumpet! 	00:02:56 
10 An Owl Cries In Autumn 	00:02:22 
11 Oh, I Believe, I Believe In Happiness! 	00:01:59 
12 O My Homeland, O Happy And Eternal Hour! 	00:03:22

Elena Obraztsova  - mezzo-soprano
Georgy Sviridov – piano

If Georgy Sviridov (b1915) chafed under the musical restrictions of the Soviet regime, he never said so. One of his preferred media has been solo song, where official pressure was not at its heaviest. A cycle of 12 songs, Russia Cast Adrift, proves him a composer of individuality and strength, some striking chordal formations bursting out of an old-fashioned style. The texts – with some enigmatic religious references – are by Yesenin, a notable poet who committed suicide in 1925. --- Arthur Jacobs, BBC Music Magazine

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The Small Symphony
1. Allegro moderato un poco rubato
2. Con tutta forza un poco maestoso
3. Allegro moderato

The Small Cantata for Tenor, Choir and Orchestra
4. Proshchai rodnaya dusha
5. Topi da bolota
6. Ya strannik ubogyi
7. Ne ishchy te menya v boge

8. Ti zapoi mne etu pesnu
9. Dusha grustit o nebesyakh
10. Sneg idet

USSR Radio Chamber Orchestra and Choir
Aleksey Maslennikov – tenor
Gennady Rozhdestvensky – conductor

From the very beginning of his career up until its near end, Georgy Vasilevich Sviridov was recognized as possessing rare and unique musical talents; for example, at the age of 19 he was invited into the Composers Union and at 54 he was made a People's Artist of the U.S.S.R. A student of exceptional composers, he was trained under M.A. Yudin at the Central Music Tekhnikum in Leningrad (early '30s) and with Shostakovich at the Leningrad Conservatory, where he graduated in 1941. His other teachers included Isay Braudo and Ryazanov. After finishing his formal studies, he began performing as a pianist in 1945, but this occupation played less of a role in his musical life as his composing increasingly demanded his focus. His extensive output of dramatic, orchestral, chamber, and vocal works, many of which possess a characteristically Russian style, have brought him recognition as leader of mid- to late twentieth-century Russian music, as well as a leader of his nation's new nationalist movement.

As early as 1935, Sviridov used national themes in his compositions when he set the verses of Russia's poets. Later, while concentrating on the social status of peasant women, he wrote small-scale chamber cantatas based on lyrical folk songs from the Kursk Province. Of his many works, which include The Decembrists (1955), Poem About Lenin (1960), and 5 Songs About Our Fatherland (1967), Oratorio pathétique is probably one of his most famous. --- Meredith Gailey, Rovi

Rosyjski neoromantyczny kompozytor Georgij Wasiliewicz Swiridow (1915-1998) urodził się w 1915 roku w Fateżu niedaleko Kurska. Sławę w Związku Radzieckim przyniósł mu cykl romantycznych romansów muzycznych opartych na poezji Aleksandra Puszkina. W latach późniejszych Swiridow szukał inspiracji w rosyjskiej tradycji i piosenkach ludowych. Komponował muzykę kameralną i oratoria symfoniczne nawiązujące do utworów rosyjskich poetów: Majakowskiego, Jesienina, Bloka, Pasternaka i Lermontowa. Stosunkowo mało znany na zachodzie, cieszy się ogromną popularnością w Rosji, gdyż w swoich lirycznych melodiach czerpie z bogactwa rosyjskiej tradycji i wyraża "rosyjską duszę". ---rzeczysedno.pl

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Romances And Songs To A. Blok's Lyrics (Романсы на слова А. Блока)
1. Spring  (Весна)
2. The Wathercock  (Флюгер)
3. Beyond Forests, Beyond Hills  (За горами, за лесами)
4. Moscow Morning  (Утро в Москве)
5. Passionate Vows While Parting   (Как прощались, страстно клялись)
6. Bride   (Невеста)
7. Blown By The Wind From Afar  (Ветер принес издалека)
8. Lullaby  (Колыбельная песня)
9. Don't Tempt Me Freedom  (Не мани меня ты, воля)
10. In The Unmowed Hollow  (Под насыпью, во рву некошеном)
11. Tsarina And Her Daughter  (Царица и царевна)

Cast Off Russia, Poem, Lyrics By S. Esenin   (Отчалившая Русь, поэма, слова С. Есенина)
12. Autumn  (Осень)
13. I Have Left Paternal Home  (Я покинул родимый дом...)
14. Open Blue Gates Of Day, Heavenly Guard...   (Отвори мне, страж заоблачный, голубые двери дня...)
15. Silvery Road, Where Are You Leading Me?  (Серебристая дорога, ты ведешь меня куда?..)
16. Cast Off Russia  (Отчалившая Русь)
17. Simonet, Pyotr... Where Are You? Come...  (Симоне, Петр... Где ты? Приди...)
18. Where Are You, Where Are You, Paternal Home...  (Где ты, где ты, отчий дом...)
19. There, Beyond The Hills Of The Milky Way...  (Там, за Млечными холмами...)
20. Blows, Blows The Horn Of Death!  (Трубит, трубит погибельный рог!)
21. Owl's Autumn Call  (По-осеннему кычет сова...)
22. Oh, I Trust, I Trust There Is Happiness!  (О верю, верю, счастье есть!)
23. Oh, Motherland, A Happy And Eternal Hour!  (О родина, счастливый и неисходный час!)

Elena Obraztsova - soprano  (Елена Образцова, меццо-сопрано)
Makvala Kasrashvili - soprano (8)  (Маквала Касрашвили, сопрано (8))
Georgi Sviridov - piano  (Геогрий Свиридов, фортепиано)

From the very beginning of his career up until its near end, Georgy Vasilevich Svidirov was recognized as possessing rare and unique musical talents; for example, at the age of 19 he was invited into the Composers Union and at 54 he was made a People's Artist of the U.S.S.R. A student of exceptional composers, he was trained under M.A. Yudin at the Central Music Tekhnikum in Leningrad (early '30s) and with Shostakovich at the Leningrad Conservatory, where he graduated in 1941. His other teachers included Isay Braudo and Ryazanov. After finishing his formal studies, he began performing as a pianist in 1945, but this occupation played less of a role in his musical life as his composing increasingly demanded his focus. His extensive output of dramatic, orchestral, chamber, and vocal works, many of which possess a characteristically Russian style, have brought him recognition as leader of mid- to late twentieth-century Russian music, as well as a leader of his nation's new nationalist movement.

As early as 1935, Sviridov used national themes in his compositions when he set the verses of Russia's poets. Later, while concentrating on the social status of peasant women, he wrote small-scale chamber cantatas based on lyrical folk songs from the Kursk Province. Of his many works, which include The Decembrists (1955), Poem About Lenin (1960), and 5 Songs About Our Fatherland (1967), Oratorio pathétique is probably one of his most famous. ---itunes.apple.com

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Hymns To The Fatherland (F. Sologub), For Chorus
   1 	1. Our North 	     	   0:05:12 	
   2 	2. Russian Heart 	     	   0:02:33 	
   3 	3. Sadness Of Immense Spaces 	     	  0:03:20 
Songs Without Prospect (A. Blok), For Chorus
   4 	1. Autumn 	     	   0:02:01 	
   5 	2. Bright Fields 	     	   0:01:28 	
   6 	3. Spring And The Sorcerer 	     	   0:05:05 	
   7 	4. The Icon 	     	   0:04:57 	
Concerto To The Memory Of A.A. Yurlov, For Chorus
   8 	1. Lament 	     	   0:02:35 	
   9 	2. Sepration 	     	   0:03:09 	
   10 	3. Chorale 	     	   0:03:50 
Choral Pieces (3) On Tolstoy's "Tsar Fyodor Ioanovich"	
   11 	1. Prayer 	     	   0:03:25 	
   12 	2. Sacred Love 	     	   0:03:21 	
   13 	3. Song Of Repentance 	     	   0:03:26 
Unuttered Miracle, For Chorus	
   14 	1. Lord, Save The Just 	     	   0:01:30 	
   15 	2. Trisagion 	     	   0:03:53 	
   16 	3. Come, Let Us Bow Down 	     	   0:02:12 	
   17 	4. Christmas Carol 	     	   0:01:43 	
   18 	5. Glory And Alleluia 	     	   0:03:46 	
   19 	6. Unuttered Miracle 	     	   0:02:21

Ural Cossack Choir
Vladislav Novik – conductor

On January 5th, 1998 the death was announced of Georgy Sviridov, one of the veterans of Soviet Russian music, and this recording is a timely tribute to his memory. Born on December 3rd, 1915 at Fatezh in the province of Kursk, Sviridov began his musical education in his native town. He then went on to the Music School and the Leningrad Conservatory, studying the piano and composition. Between 1937 and 1941 he was a pupil of Shostakovich. His earliest compositions (song cycles to words by Pushkin) determined his innate predisposition for vocal music. Although his purely instrumental production comprises a number of large-scale works (Piano Concerto, Symphony for strings, Trio, String Quartet), he was known, and will continue to be known, for his vocal compositions. A musician with a strongly marked patriotic vein, Sviridov was always considered by the Soviet authorities to be an ideologically orthodox artist. However, his attachment to the Russian soil, its rural traditions and its national heritage stemmed from his personal disposition and not from any imposed dogmas. His musical style, which was devoid of any avant-garde features, possesses a recognisable personal stamp in its constant recourse to modalism, the superimposition of the major and the relative minor, clusters of diatonic discords, and a sense of treating the voices in such a way that the melodic discourse maintains its predominance within the polyphonic texture. There is a frequent use or imitation of traditional themes, as well as of archaic religious motives borrowed from or inspired by the "znamenny" (neumatic) chants of the Orthodox Church. Frequently used vocal techniques are glissandi, humming, and singing on single vowels.

The triptych Hymns to the Fatherland (a title that could easily inspire dread of wooden official ranting!) was composed in 1983 to words by the early 20th century poet Feodor Sologub, and expresses an interiorised form of patriotism, that of the soul and the love of the soil. In Our North solo voices (soprano, alto, bass, baritone) alternate with brief interventions of the massed choir, while the sadness of A Russian Heart is expressed in short phrases with the intonations of an appeal. The dimension of the obsessive monotony of The Sadness of the Immense Spaces is depicted in the unvarying use of the same key of D sharp minor. The four Songs without Prospect were written in 1980 to words by Alexander Blok, the leading representative of the Russian Symbolist movement in the early part of the century. The style is relatively simple: phrases in unison or in parallel motion, with a few choral cadences in Autumn; transparency, ingenuousness and optimism in Bright Fields, with the hope of the return of the soul towards the light; the most original and interesting, Spring and the Sorcerer, is a kind of parable steeped in popular paganism. The handling of the voices is highly representative of the balance between melody, counterpoint and harmony which is one of Sviridov's hallmarks, highlighted by his use of choral humming in one of the sections. This technique is even more striking in The Icon, which also brings in an electronic organ and gives the text to a solo mezzo-soprano in the form of an arioso that does not stray from the keys of F major and its relative D minor, except for sudden modulations in the concluding bars. The Concert in Memory of Alexander Yurlov composed in 1973 is a funerary tribute to the great choral conductor and founder of one of the most renowned of all choirs in the USSR, which frequently performed Sviridov's music. It is a wordless triptych in which grief is expressed by means of harsh dissonances in the Lament, is transformed into controlled sadness in Separation, alternating between the simplicity of a vocalised formula and a chromaticism bordering on serialism; in the Chorale there is a recognizable quotation in four ascending degrees of the German hymn, Es istgenug. Between 1969 and 1972 Sviridov wrote three choruses for Alexey Tolstoy's historic play Tsar Feodor Ivanovitch. Dating from a period when it was not considered very commendable in the USSR to refer to religion, these three choruses belong to the tradition of sacred music in the manner of Rachmaninov's Vespers, with borrowings or imitations of znamenny chants. Prayer is a setting of the liturgical text of the Ave Maria, treated throughout with an almost hieratic austerity. Sacred Love has a soprano spinning out a line of majestic vocalises against the background of the chorus, while the Song of Repentance is partly taken from a melody composed in the 16th century by Feodor Krestianin, one of earliest known Russian precentors who was attached to the court of Ivan the Terrible. These links Sviridov maintained with the Orthodox spiritual and musical heritage were confirmed in the set of religious choruses he wrote at the beginning of the 1980s and which were performed on February 2nd, 1982 at the Moscow Conservatory by the Glinka Cappella conducted by Vladimir Tchernushenko. Six of them are recorded here. Without being specifically destined for the divine office, they are religious music in its purest form, achieving a happy synthesis between tradition and the composer's personal style, as, for instance, in the Christmas Carol, which borrows a motive usually sung in church in a highly original harmonization. There are episodic passages for solo voices (a bass in Lord, save the just, bass and soprano in Glory and Alleluia), which add a touch of concertante writing. And the last piece, Unuttered Miracle, ends the programme in the tenderness and refinement of unusual harmonies. ---Andre Lischke, mymusicbase.ru

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