Grechaninov - Symphony No.3; Cantata "Praise the Lord"

Alexander GRECHANINOV (1864-1956)

Symphony No. 3 

Cantata: Kvalite Boga 

 Ludmila Kuznetsova (mezzo)

Russian State Symphonic Cappella

Russian State SO

Valeri Polyansky

Tchaikovskian blood flowing through the veins warms the flesh of Grechaninov's Third. The work was premiered in Kiev in 1923, the year before the composer left for Paris. At 6.20 in the first movement one of those gracious nostalgic flute melodies of which Glazunov was a pastmaster floats by in eloquent confidence. The second movement makes equally poignant use of the upper woodwind. I was reminded somewhat of Madetoja's Second Symphony which also has Tchaikovskian leanings. The rolling and carolling woodwind of the andante sounds like a relaxed version of Schumann (Rhenish Symphony) with a dash of Elgar. Grechaninov writes consistently very well for the woodwind. The antiphonal effects of the finale are wonderfully unstuffy although the insurgence at 3.07 of a sub-Rimsky 'rumpus' is not the strongest part of the symphony.

The cantata, in contrast with the smooth 'Establishment' ring of the other two masses, is a much more clearly Russian work. It is a masterpiece of elation and exalted peaks. The rapt inwardness of the cries of 'Vruju' from Janacek's Glagolitic Mass, Vaughan Williams' Magnificat and something of the singing swing of Paul Paray's St Joan Mass (wonderfully done by James Paul on Reference) comes across in Grechaninov's work. Time after time the composer comes up with inspired music. The regal vision and rippling motion of the final panel of the triptych is a remarkable inspiration with significant roles for the flute and trumpet. A wonderful discovery.

Once again the recording is crisp and punchy with enough space around the voices and orchestra to flatter the grand scale of Grechaninov's vision.

Rob Barnett