Khachaturian - Spartacus (Ballet Suites 1-3)

Aram KHACHATURIAN (1903-1978)

Spartacus - Ballet Suites 1-3

Royal Scottish National Orchestra

Neeme Järvi

Release Date: 1991

Originally recorded in 1990

Venue: Henry Wood Hall, Glasgow

Neeme Jarvi's selections from Khachaturian's ballet "Spartacus" are generous and exceptionally well-played, for the most part, by the Scottish National Orchestra. The brass, in particular, play with much gusto in these highly characterized excerpts. The three suites may not follow the progression of the ballet but they make an enjoyable collection nevertheless.

There is much to like in these extended excerpts, which comprise about thrice as much music as is usually gathered in a suite from "Spartacus", the composer's colorful ballet. Jarvi and his troupe obviously enjoyed themselves making this recording as they revel in Khachaturian's colorful score.

What keeps this from being a five star selection is the somewhat unidiomatic approach conductor and musicians take to the music. Jarvi, whose recordings specialize in unusual and oft-unheard repertoire, is perhaps too international in his approach to this music.

He and his band are neither big enough nor loud enough In "Variations of Aegina and Bacchanalia", the first excerpt from most collections of this music. They begin to catch on in "Scene and Dance with Crotalums" but still tend to rough over many of Khachaturian's hard edges.

The famous "Adagio of Spartacus and Phrygia", which is the heart of this collection, is taken at a very rapid pace by Jarvi. The timing of 8:49 is 1:31 faster than a more idiomatic performance I've heard by Temirkanov. Jarvi's approach adds a passionate element to the music but also needlessly rushes it, denying its beauty and solemnity.

When Khachaturian conducted his own music there was never any room for subtlety and always room for sentiment in slower movements. Khachaturian's music is always full of pathos, which Jarvi tends to undercut in his own musical way. He dwells on musical values and orchestral execution at the expense of emotional largess.

You can hear this in just about every section of this performance including "Dance of the Egyptian Girl" from the third suite. It is wonderfully played but lacks the characterisitics that make Khachaturian's music unique.

It is as if Jarvi is trying to avoid the famous Chicago critic's charge that, "He who steals Khachaturian steals trash." In my opinion it is the trashy approach that makes Khachaturian's music so wonderful.

Still there is much to enjoy in this generous collection. Short of some languid bassoons, the playing is consistently first rate in a five by five recording that rivals the best work done today. Anyone that wants an extended collection of music from "Spartacus" or any Khachaturian ballet will not likely be disappointed with this compilation.

from Amazon Review