Gliere: Symphony No. 3, Op. 42 "Ilya Murometz"

Editorial Reviews
Amazon.com
This flamingly multicolored, unashamedly grand-scaled symphony receives a performance here so sonically beautiful that it's practically visible. The work is programmatic and tells of the heroic deeds of a medieval knight-strongman, (translated as) "Il 'ya from the town of Murom." Given the orchestration--quadruple woodwinds, four trumpets, eight horns, four trombones, tuba, timpani, percussion, two harps, celeste, and strings--he comes across as a combination of Superman, Batman, Robin Hood, and Wagner's Siegfried. Leon Botstein brings out great warmth in the London Symphony's string section, the flute bird-curlicues in the second movement are luscious, and, in general, his leadership has nice forward propulsion in a work that can easily sound bloated. If this sort of huge, Romantic palette is your cup of tea--and it is sort of irresistible--then look no further. This realization is ravishing, and Telarc's sound is an audiophile's dream. --Robert Levine

Gliere: Symphony No. 3, Op. 42 "Ilya Murometz", Music, Reinhold Gliere, Leon Botstein, London Symphony Orchestra, 20th/21st Century Symphony, Classical, Classical Composers, Classical Music, Orchestral & Symphonic, Symphonic

Reinhold Gliere: Symphony No. 3 'Ilya Muromets'
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Ranks Among the Best Ever

Gliere:Symphony no 3 / Downes, BBC Philharmonic

Well focused, highlighting Ilya's strengths, in fine sound

Reinhold Gliere: Symphony No. 3 'Ilya Muromets'

Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

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Reinhold Gliere: Symphony No. 1/The Red Poppy Suite

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Reinhold Gliere: Bronze Horseman Suite/Concerto for Horn & Orchestra, Op. 91

Glière: The Red Poppy (Complete Ballet)

Glazunov: Symphony No. 6 / The Forest

ASIN: B000000AOZ
Release Date: 1992-10-28

Tracks:

Symphony No.3 In B Minor: Andante Sostenuto
Symphony No.3 In B Minor: Allegro Risoluto
Symphony No.3 In B Minor: Andante
Symphony No.3 In B Minor: Allegro - Andante - Allegro
Symphony No.3 In B Minor: Allegro Tumultuoso - Tranquillo - Giocoso
Symphony No.3 In B Minor: Poco Meno - Maestoso Solenne

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Glière (1875-1956) was one of the late Russian nationalists, along with Rimsky-Korsakov and Glazunov, whose music collectively captures the waning years of Romanticism in Russia. Glière's Symphony No. 3, Ilya Muromets, of 1912 takes its thematic cues from Richard Wagner, particularly Wagner's German nationalism in such tales as the Nibelungenlied. Ilya Muromets is a hero of Russia's golden age--similar to Odysseus and Achilles--and the symphony paints the tale of his moody adventures and his lifelong journeying. It is probably Glière's greatest symphony, imbued with the sense of something irretrievably lost because of the rise of Communism. --Paul Cook

Customer Reviews:

Ranks Among the Best Ever.......2006-03-10

This symphony must be counted in the list of the top 10 or so greatest symphonies ever written.
That is elite company, to be sure, but Gliere earns that distinction with this exceptional entry into the canon of symphonic literature.
There is nothing small about this symphony. It is a vast musical landscape, but one that is easy to understand. Gliere employs tight, compact writing stretched out over a lengthy 75 minute musical canvas. It is a descriptive work filled with intoxicating, hypnotic moments.
I could go on forever, but I'll leave it up to you to experience this excellent, well executed performance of one of the most wondrous, magical symphonies ever put to paper.
My highest recommendation.
Enjoy!

Gliere:Symphony no 3 / Downes, BBC Philharmonic.......1999-11-23

Excellently played. Compared to other recordings that I have heard, it seems very legato, especially the contrabassoon solo in the second movement. I believe that this is the best recording of this wonderful music available.

Well focused, highlighting Ilya's strengths, in fine sound.......1999-09-14

Downes is well focused and objective in his conducting. The result is a performance that might lack some of the thrills and spills of (say) Stokowski or Ormandy, but emphasises the work's symphonic strength and minimises any feeling that the work is simply too long. No prospect here of spilling over onto 2 CDs, despite being absolutely uncut, unlike some other versions (notably Stokowski who excises half of the score!). The BBC Philharmonic play splendidly. The recording from BBC's Manchester Studios is aptly spacious and well balanced.

Gliere: Symphony No. 3 in B Minor, Op. 42 "IlyaMuromets" Sir Edward Downes

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Gliere: Symphony No. 3 in B Minor, Op. 42 "IlyaMuromets" Sir Edward Downes

Manufacturer: Musical Heritage Society
ProductGroup: Music
Binding: Audio CD
ASIN: B000EW7ZIO

Product Description

The tracks are: 1. - 2. Wandering Pilgrims; Ilya Muromets and Svyagotor, 3. Nightingale the Robber, 4. At The Court of Vladimir the Mighty Sun, 5. - 6. The Heroic Deeds and Petrification of Ilya Muromets.

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Decent recording, but feels drawn-out
Gliere Glitters
Gliere: Bogatyr of Symphonists
Great, powerful music at a bargain price

Gliere: Symphony 3

Manufacturer: Naxos
ProductGroup: Music
Binding: Audio CD

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Glière: Symphony No. 1, Op. 8; The Sirens, Op. 33
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Glazunov: The Kremlin, From the Middle Ages, etc.
Glazunov: Symphonies Nos. 2 & 7

ASIN: B0000013ZC
Release Date: 1994-03-25

Tracks:

Symphony No. 3 In B Minor, Op. 42 'Il'ya Muromets': 1. Wandering Pilgrims. Il'ya Muromets And Svyatogor
Symphony No. 3 In B Minor, Op. 42 'Il'ya Muromets': 2. Solovey The Brigand
Symphony No. 3 In B Minor, Op. 42 'Il'ya Muromets': 3. With Vladimir Fair Sun
Symphony No. 3 In B Minor, Op. 42 'Il'ya Muromets': 4. Prowess And Petrifaction Of Il'ya Muromets

Amazon.com

Listening to Gliere's monstrously long symphony is kind of like being on a binge. You know you're going to be overstuffed when it's over, but it's so yummy that you just don't care. This richly scored, opulent confection takes a couple of good themes and stretches them out over a very large canvas. Back in the old days of LP, the piece was usually played with large cuts, but truthfully this only makes the music less satisfying, because it comes across as incomplete and unbalanced. If you're going to do it at all, you might as well do it right. This recording really does, and at budget price, it's a bargain binge at that. --David Hurwitz

Customer Reviews:

Decent recording, but feels drawn-out.......2007-03-07

This is not so much a shot at the recording. The quality seems quite good to my ears and I didn't hear any gross slip-ups by the performers.

Compared to Gliere's Symphony No. 2, I don't really understand why the third one is so popular. Some parts of Symphony No. 3 are impressive, but I got a little bored listening to certain parts of the last movement. It really felt drawn-out. Symphony No. 2 is more accessible for me since listening to it isn't as much of a chore.

Nevertheless, you can't beat Naxos' price and I think that it's an acceptable price to at least find out what all the fuss is about.

Gliere Glitters.......2005-10-27

A nice rendering of a piece that is not often heard. If you are a fan of the late 19th century Russian national sound, you will thoroughly enjoy this symphony. It is the ultimate program piece, reflecting a diversity of influences from Berlioz to Borodin. But what is most interesting, though, is to hear and recognize the sounds, pacing, and phrasing that would be taken to a new level by Gliere's pupil, Aram Khachaturian.

Gliere: Bogatyr of Symphonists.......2000-10-29

Reinhold Glière (1875-1956) wrote his Third Symphony, "Ilya Mourometz," between 1909 and 1911, finishing it when he was still youthfully in his thirties. This exercise in Wagnerian giantism has suffered critical ups and downs over the years, surviving when at the nadir of its acceptability through being played in a severely cut edition pared down by Stokowski. Over the last twenty-five years, given the opportunity to assimilate the symphony in private, listeners (if not critics) have made their peace with Glière's sprawling original. But there are peculiarities in "Ilya Mourometz." The harmonies are indeed Wagnerian, but the colors are much more varied than in Wagner; Glière obviously understood what Debussy had done with the orchestra and applied the lesson. We hear the impress of César Franck's symphonic poems, too. Mostly unexpectedly, however, when we listen carefully to the rapid sections, the ones that depict combat or flight, they turn out to be extended studies in fugue (in fact, they are some of the most exciting fugues in the orchestral literature). Rigorous counterpoint is not what one anticipates given this symphony's reputation as a cinema-score sans the cinema; but the whole of "Ilya Mourometz" is more than its reputation among the critics has ever acknowledged. This Donald Johanos performance with the (then) Czecho-Slovak Radio Symphony Orchestra (Bratislava) comes from 1991 and formerly appeared, at full price, on Marco Polo; its return on Naxos is welcome. It offers less spectacular sound than Sir Edward Downs on Chandos, but only by a fraction, and the two "takes" strike me as equal. The clincher might thus be the price. For a listener not yet initiated into the labyrinth of Glière's symphonic epic, the Naxos disc is a low-risk investment. Arm yourself, keep a sharp lookout for brugands and sorcerers, and enjoy!

Great, powerful music at a bargain price.......2000-08-29

Another great Naxos recording. Gliere's huge symphony is based on the legend of Il'ya Muromets, the subject of Russian poetry. The symphony's four movements tell the story of Il'ya's adventures, and are full of religious and mythic imagery. Donald Johanos and the Czecho-Slovak Radio Symphony Orchestra capture the force and power of this work, and as mentioned earlier, it's at a bargain price.

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Gliere: Symphony No. 3

Manufacturer: Proarte
ProductGroup: Music
Binding: Audio CD

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Release Date: 1993-01-29

Sergiu Celibidache In Berlin: The Early Years, 1945-1948, Deutsches Rundfunkarchiv

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Let Us Sing Joyfully to the Lord!
Ferociously Passionate Performances

Sergiu Celibidache In Berlin: The Early Years, 1945-1948, Deutsches Rundfunkarchiv
Berlin Philharmonic Orchestra
Manufacturer: Music & Arts Program
ProductGroup: Music
Binding: Audio CD

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CELIBIDACHE / Münchner Philharmoniker - Brahms: Symphony No. 1 / Ein deutsches Requiem

ASIN: B00005B1E5
Release Date: 2006-01-01

Tracks:

Leonore Overture No.3, Op.72
I. Allegro Non Troppo
II. Andante Moderato
III. Allegro Giocoso
IV. Allegro Energico E Passionato
Till Eulenspiegels Lustige Streiche

Tracks:

I. Allegro
II. Adagio Ma Non Troppo
III. Finale. Allegro Moderato
I. Lacrymosa. Andante Ben Misurato
II. Dies Irae. Allegro Con Fuoco
III. Requiem Aeternam. Andante Molto Tranquillo
I. Allegro Con Brio
II. Larghetto
III. Gavotte. Non Troppo Allegro
IV. Finale. Molto Vivace

Tracks:

I. Adagio Cantabile-Vivace Assai
II. Andante
III. Menuetto. Allegro Molto
IV. Finale. Allegro Molto
Allegro Assai Con Fuoco
I. De L'Aube A Midi Sur La Mer
II. Jeux De Vagues
III. Dialogue Du Vent Et De La Mer
Nocturnes, No.2: Fetes
Andante

Tracks:

Allegro
Romeo And Juliet Overture-Fantasy
I. The Montagues And The Capulets
II. Julia As A Young Girl
III. Friar Laurence
IV. Dance
V. Romeo Bids Juliet Farewell Before Parting
VI. Dance Of The Maids With Lillies
VII. Romeo At Juliet's Grave
Andante Calmo

Customer Reviews:

Let Us Sing Joyfully to the Lord!.......2004-01-12

Put aside your prejudices about the late 1940's sound for a moment, gentle friend, and let us embark together on a musical
journey full of wonders and magic.
Sergiu Celibidache is the most legendary "unknown" conductor of the 20th Century. His refusal to make commercial recordings, combined with his uncompromising attitudes towards music making enforced the life of nomadic guest conductor on him for most of his career. But for those Europeans who were fortunate enough to hear him in the concert hall or on the radio, his performances
achieved mythic status. These 4 CD's, covering a good range of
the "basic repetoire" give ample reason as to why.
Celibidache's general method here is to take softer passages at
a slow, deliberate pace, allowing him ample space to sculpt each
phrase and each orchestral detail with infinite care. He slams
the forte's home with an accellerando that's like a good shot of adrenaline, yeilding ferocious climaxes. In the hands of a lesser conductor, these are mere technical tricks, but Celibidache's musical instincts are so uncanny and unerring as to achieve the most remarkable results. You will never hear a
performance of the Brahms 4th Symphony which sings so beautifully
throughout, particularly the final movement, where the point is
architecture, not cantabile. Celibidache demonstrates the two can live quite happily together here.
Likewise, Celibidache treats the humor in "Till Eulenspiegel" more as manic, mischievous glee, which is thoroughly appropriate.
Why hasn't any other conductor done this?
The juxtapositions of Prokofiev's "Classical Symphony" with Haydn's "Surprise Symphony" and Tchiakovsky's and Prokofiev's
takes on "Romeo and Juliet" prove most instructive. In the former case, Celibidache eschews the usual vision of Prokofiev
parodying Haydn in favor of a view of Prokofiev play-acting Haydn. This is altogether different. Likewise, Tchiakovsky's
"Romeo and Juliet" is heart-rendingly romantic, Prokofiev's is
heart-rendingly tragic.
Above all, it is the SINGING quality of this music that makes it stand apart. The Debussy, Britten and Busoni performances are
more than examplary... they are revelations!
This set reveals that it was Celibidache, not Furtwangler, who was the true antipode to Toscanini, as THE ultimate Romantic
conductor. The music here is unique, personal and passionate
beyond any other performances of these pieces.
You will NOT be disappointed.

Ferociously Passionate Performances.......2003-02-07

Sergiu Celibidache was one of the most famous unheard conductors in the world. He notoriously detested the clinical sterility of the recording studio (his opinion), so unless you lived in a city where he regularly gave concerts, your chances of hearing his work were almost nil. Oddly enough, he seldom banned the radio broadcast of his concerts, and DG and EMI have issued handsome editions of fifty or more CDs dating from Celi's later years conducting radio orchestras in Stockholm and Stuttgart, as well as the Munich Philharmonic. These performances reflect a unique Zen-influenced aesthetic that demanded that music performance take into account the living factors of concert hall sound production. As a result, they exhibit a dedication to slow tempi that allow the conductor to explore all the various layers of performance components that make up a symphonic score. And not a few people are put off by such an approach, where a Beethoven 'Pastorale' symphony can last the better part of an hour. But the performances on these Music and Arts CDs present a picture of a much younger Celi, the barely experienced young man in his twenties who was asked to take over the Berlin Philharmonic, no less, at the end of the Second World War. (This was at a time when many German conductors, including Furtwaengler, were banned from performing while allied authorities investigated their activities during the Nazi years.) The young Celibidache is revealed to be a passionate, almost reckless, orchestra leader whose self-evident gifts for highly dramatic music-making come across vividly in these brilliantly-remastered CDs. In later years, an embarassed Celibidache would repudiate his high-octane Berlin performances as the work of an undisciplined wild man. But it's hard to resist the sheer musical excitement produced by these CDs. (And it's important to remember that the young conductor we meet here impressed a lot of other musicians at that time, including Furtwaengler.) Some of these performances have appeared in other CD editions, but none of those boasts the amazingly life-like, natural sound of these M&A CDs. M&A has a licensing arrangement with the German Radio Archive and so has access to original master tapes. In the 1940s, Germany was the world leader in tape technology. While no one will mistake these monophonic recordings for contemporary digital stereo productions, the set fully merits five stars just the same: there is no way that these recordings sound like they are almost 60 years old ... and they are!

"Reinhold Glière: Symphony No. 3 (""Il'ya Murometz), Op. 42 "

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"Reinhold Glière: Symphony No. 3 (""Il'ya Murometz), Op. 42 "

Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD

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ASIN: B000088NV5
Release Date: 2003-01-28

Gliere: Symphony No. 3, Op. 42 "Ilya Murometz"

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Botstein is captivating but Downes's the real thriller!
Playing 9/10, recording 7/10, musical interpretation 2/10
Not among the best
A total, unmitigated disaster from every point of view!
An Ilya for the Ages

Gliere: Symphony No. 3, Op. 42 "Ilya Murometz"
Reinhold Gliere , Leon Botstein , and London Symphony Orchestra
Manufacturer: Telarc
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

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ASIN: B00007GZAT
Release Date: 2003-01-28

Tracks:

I. Wandering Pilgrims: Il'ya Murometz And Svyatogor
II. Il'ya Murometz And Solovei The Brigand
III. At The Court Of Vladimir The Mighty Sun
IV. The Heroic Deeds And Petrification Of Il'ya Murometz

Amazon.com

This flamingly multicolored, unashamedly grand-scaled symphony receives a performance here so sonically beautiful that it's practically visible. The work is programmatic and tells of the heroic deeds of a medieval knight-strongman, (translated as) "Il 'ya from the town of Murom." Given the orchestration--quadruple woodwinds, four trumpets, eight horns, four trombones, tuba, timpani, percussion, two harps, celeste, and strings--he comes across as a combination of Superman, Batman, Robin Hood, and Wagner's Siegfried. Leon Botstein brings out great warmth in the London Symphony's string section, the flute bird-curlicues in the second movement are luscious, and, in general, his leadership has nice forward propulsion in a work that can easily sound bloated. If this sort of huge, Romantic palette is your cup of tea--and it is sort of irresistible--then look no further. This realization is ravishing, and Telarc's sound is an audiophile's dream. --Robert Levine

Customer Reviews:

Botstein is captivating but Downes's the real thriller!.......2003-05-19

Between Tchaikovsky's and Myaskovsky's Sixth Symphonies (of 1893 and 1923 respectively), there are a few Russian symphonies written in-between them that surely stands out as among the finest in the genre: Glazunov's Eighth, Scriabin's Third, Rachmaninov's Second, and Gliere's monumental masterpiece of 1911. This score (Wagnerian in scope), which calls for quadruple woodwinds, eight horns, four trumpets, tuba, four trombones, an opulent percussion department including a celesta, two harps, and strings, combines the epic traditions of Borodin and Glazunov (to whom it's dedicated). It is strongly nationalistic in outlook, picturesque in its programming, and a strong defender of Late Romanticism. And yet notwithstanding its popularity, this score suffers from some oblivion beyond Russian borders and, in the past at least, fell victim to some rather heavy cuts especially in the outer movements (like the Stokowski and the Nathan Rakhlin recordings, the latter which is otherwise a thrilling and an exemplary account under the Melodiya/Columbia/Russian Disc labels-all nla). Thankfully, few and more recent recordings happen to be totally faithful to this extraordinary music, the earliest of such featuring Hermann Scherchen and the Vienna State Opera Orchestra (under the deleted Westminster Gold LP label-and a very hair-raising state of affairs at best).

Charles B. Yulish's fascinating notes in that Melodiya/Columbia LP recording explains that Ilya Murometz, according to historians, emerged in the 10th or 11th century, about the time Kiev became a focal point in northern Russia as a center for commerce. However, Kiev became also a focal point for invaders, which prompted Prince Vladimir, son of Sviatoslav, to build a ring of fortresses to protect the city. Vladimir, who became the first to consolidate Russia, enlisted northerners for defense purposes. Ilya was among the knights recruited, and he is often credited for helping Vladimir achieve various nationalistic goals, such as bringing Christianity to Russia. Vladimir converted to Christianity, though historians differs as to why (to marry Anna, the daughter of Emperor Basil II or was it due to some calculated ploy to power). Whatever the reason, Ilya's adventures and escapades, as Yulish observes, is best understood through the Russian bylina, a secular folk song equivalent to spiritual verses often spoken poetically. Gliere, quite a master of storytelling and picturialism, wrote his own story line for the purposes of the music, which is well detailed in Anthony Burton's synopsis for this recording.

Not forgetting even for a moment the Rakhlin's classic Melodiya recording or Sir Edward Downes very theatrical approach to the score, Leon Botstein, whose approach reminds me a good deal of Scherchen's, makes a very strong case for this work, and the London Symphony Orchestra responds with upmost conviction, authority, and flair. Their's a performance that ripe in more ways than one. What I like particularly about Botstein's reading is the buildup from the first movement's andante sostenuto into the very exciting and thrust forward allegro risoluto section. Even the tranquillo misterioso is arresting in its own right. But turn to andante second movement "Il'ya Murometz and Solovei the Brigand" and even the mysterious layers behind each note are well captured. The finale "The Heroic Deeds and Petrification of Il'ya Murometz" is well served also, and Botstein's sense of urgency brings extra dimensions of drama to it, though as the expense of the expansiveness especially in the climax (where after the Tartars multiplied themselves, Il'ya and his bogatyrs were turned to stones as they flee towards the mountains).

This in turn arises a problem I have with Botstein's recording. Going back to Downes's 1991 Chandos recording with the BBC Philharmonic, and it is Downes who articulates the expansiveness and the spaciousness that make the story-telling more intriguing yet absorbing. Botstein is effective in this regard, but Downes is much more than that. Their timings in the first three movements are very identical, and yet it's Downes who unfolds the story behind the score more naturally. It is this momentous, heavily-scored piece where accentuation does indeed count, otherwise some of the effects would be drowned (Farberman understood this in the well, far-searching Unicorn-Kanchana recording). For example, the climax, and the poco meno section preceding it, is absolutely captivating in Downes' hands while Botstein is too fleeting and comparatively thinner in tone. And credit shall be given to Downes' BBC Philharmonic, the ensemble with more body and weight, and with more sonorous phrasings throughout than Botstein's orchestra. Furthermore, the Chandos recording sounds more intimate and involving than Telarc, with the bloom and atmosphere wonderfully at present so as to give the sound more vitality and reverberance.

So, with a couple of reservations, this disc is very collectable, for Botstein, at least for some I suspect, may have set new standards in performing Gliere's masterpiece. But as for me, Botstein's performance remains a tad too symphonic while Downes' very theatrical approach serves the music even better (even to the point of using a component home theater surround system rather than going out to see an action-packed film).

Playing 9/10, recording 7/10, musical interpretation 2/10.......2003-03-23

At last a superbly recorded version of this great epic in the full version with no cuts. The playing of the LSO is technically little short of perfect, but I'm reminded of the old days of 78 rpm records, where conductors had to choose a faster speed to get a piece to fit. This seems to be what Botstein has done to meet the 80 minute CD limit. To my taste (and I have listened to all the Gliere 3 recordings) the vast epic canvas has been spoiled, with many of Gliere's metronome marks ignored. The mystery of the forest music in movement 2 is glossed over and becomes a canter - how can it be possible for Botstein to romp through in 20:14 while Farberman takes a correctly spacious 28:33?

So if you are looking for a recording of this piece:
- for the full version at the correct tempi, choose Farberman with the Royal Philharmonic, on 2 CDs
- for technical excitement, but few spine chills, go for LSO with Botstein
- for a good compromise, get the BBC Philharmonic with Downes
- as an excellent introduction, see if you can find a record of the Philadelphia Orchestra with Ormandy - cut to only 65 minutes, but all the best music.

For further info about Gliere and his Third Symphony, see my website (type 'gliere' into Google and look for clarihorn).

Not among the best.......2003-03-11

I was eagerly anticipating hearing this, but I am disappointed by it. The primary flaw is that the tempos are just too fast, losing the sonorous, spacious quality that it requires. It is amazing how much difference it makes when the second movement is performed in 20:14 rather than 21:33 as it is on the Downes/BBC recording (the best one available); it sounds as if there is much more difference than that. It is well played, but not terribly transparent and feels extremely rushed. I feel that the very best tempos are found on the old (1952) Scherchen recording on Westminster, although the performance isn't perfect (in 1952, essentially a live performance!). I would love to see it released on CD, although it's highly unlikely. The Downes/BBC version is rather slow in places, but it certainly is played extremely well and the recording sounds terrific. I think it is considerably better than this one.

A total, unmitigated disaster from every point of view!.......2003-03-10

I have known this work in score (all 413 pages of it) for nearly 50 years now - and have been attentive to every recording that has surfaced. Some performances cut the guts out of the piece making a mockery of Gliere's carefully crafted architecture. Others come close to the mark. The only recording to follow GLIERE's markings accurately is still available and is conducted by Harold Farberman. The only recording which, if not entirely accurate tempo-wise, is sonically quite spectacular, and that is Sir Edward Downes'.

The present recording is a colossal disaster from every perspective. When a recording announces itself as being "complete and uncut" and yet, in this case, has a performance time of 72 minutes, you know something is terribly wrong. I was antipating a solid performance from Leon Botstein, and spectacular sonics from Telarc. Neither is the case. Telarc's engineers have totally missed the boat on this recording: The LSO sounds like it was recorded in a Turkish bath house, the acoustics are so terrible. There is no definition, no balance, everything sounds muffled and totally out of kilter. This is astonishing given Telarc's past record of superlative orchestral recording.

The LSO plays at its usual high level - but is totally sabatoged by Botstein's absolute dismissal of Gliere's tempo markings, either specifically or conceptually. The architecture of the four movements of this work are very carefully constructed - such that the first, second and fourth movements each have performing times between 27 and 28 minutes: yet Botstein manages the first in 22 minutes, the second in 20! and the last movement in 22. Botstein's tempi in the first movement are often not even in the same universe as Gliere's - i.e. the all important bits of liturgical chant at Rehearsal #8 are completely wrong, first measure to last. The materials given here are critical to the rest of the piece and are blown away as if they were a bit of meaningless trivia. The fourth movement, for example, begins in a "slower" tempo, progress through a series of accelerating tempi and then arrives at allegro - but is, rather, played at the arriving tempo - you know the conductor either does not know the score, or has totally misread it. The second movement builds entirely out of the "creepy" sul ponticello augmented triad blurr with which it opens - and the progression is supposed to be very, very slow. Gliere gives only one tempo marking for the movement: quarter=54. There are no accelerandi marked anywhere in the movement, and only one very brief retardando. Many of the complex figures are unplayable if the tempo is too fast - the result here is a hideous kind of sloppy rhythmic hyperventilation, not the orgasmic agitation which is, in fact, what is in the score. Here, it is all matter of fact without any feel for the "geist" of the music. The third movement lacks clarity and projection altogether. It is unlistenable. The long peroration at the end of the fourth movement, itself a very ingenious recapitulation, al roverso, of the materials that preceded it, is meaningless when it happens too soon. (See "accelerando" above). For all these (and many other reasons) I would have hoped that Mr Botstein, who is also known as a musicologist, would have paid more attention to the score. Certainly, he could have followed Gliere's markings "more closely." That he did not gives us this egregious bit of interperative charlatanism. The power of this music is fully revealed in that most fundamental of musical attributes: time. The piece works because things happen "at the right time" as much as a result of "what" happens. Gliere knows his business - and it is totally indefensible to tell the composer "you didn't write the correct tempi" in your score. Such arrogance! Such chutzpah!

Avoid this recording like the plague. It is absolutely, totally wrong and negates, at virtually every point, everything that's in the score.

An Ilya for the Ages.......2003-02-08

Finally! An Ilya that has it all: brilliantly played, stupendously recorded, excitingly conducted. The Gliere 3rd hasn't suffered from lack of CD availability; the number of digital recordings is equalled by the number of older analog recordings. Unfortunately, except for Scherchen (C'mon Westminster!) the early ones are all heavily cut. Many of the digital ones suffer from boring conductors. But not this new one. It goes right to the top of the heap and is so good that Farberman, Downes, Talmi, even Scherchen will become dust collectors. Maestro Botstein sure records some interesting material, and I really wasn't looking forward to yet another Ilya, but I'm glad I got a copy early. Now, Telarc: How about Botstein and Tchaikovsky's Manfred?

Glinka: Russlan and Ludmilla; Gliere: Symphony No3

Average customer rating:

Glinka: Russlan and Ludmilla; Gliere: Symphony No3

Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

Modern & 20th Century | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music
ASIN: B00000AF4X
Release Date: 1998-09-08

Tracks:

Symphony No. 3 In B Minor, Op. 42 'Ilya Mourometz': I. Andante sostenuto-Allegro risoluto - Wandering Pilgrims: Ilya Mourometz And Svyatogor
Symphony No. 3 In B Minor, Op. 42 'Ilya Mourometz': II. Andante - Solovei The Brigand
Symphony No. 3 In B Minor, Op. 42 'Ilya Mourometz': Allegro - At The Court Of Vladimir The Mighty Sun
Symphony No. 3 In B Minor, Op. 42 'Ilya Mourometz': III. Allegro tumultuloso-Andante - The Heroic Deeds And Petrification Of Ilya Mourometz
Overture: Russlan And Ludmilla
Symphony No. 2 In C Minor, Op. 19: I. Allegro quasi presto
Symphony No. 2 In C Minor, Op. 19: II. Andante non troppo
Symphony No. 2 In C Minor, Op. 19: III. Prestissimo scherzando

Gliere: Symphony No.3 in B, Op.42 'Ilya Muromets' - Natan Rakhlin conducts the USSR Radio & TV Symphony

Average customer rating:

Transfer Is A Disaster! That's Why Only 1 Star!!

Gliere: Symphony No.3 in B, Op.42 'Ilya Muromets' - Natan Rakhlin conducts the USSR Radio & TV Symphony

Manufacturer: Russian Disc
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

Modern & 20th Century | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music
ASIN: B000001LPV
Release Date: 1996-04-16

Tracks:

Sym No.3 in b, Op.42 'Ilya Muromets': 1. Wandering Pilgrims: Ilya Muromets And Svyatgor: Andante...
Sym No.3 in b, Op.42 'Ilya Muromets': 2. Solovei The Brigand: Andante
Sym No.3 in b, Op.42 'Ilya Muromets': 3. At The Court Of Vladimir The Mighty Sun: Allegro
Sym No.3 in b, Op.42 'Ilya Muromets': 4. The Heroic Deeds And Petrification Of Ilya Muromets...

Customer Reviews:

Transfer Is A Disaster! That's Why Only 1 Star!!.......2005-04-24

Despite my 1 star rating, this is indeed a 5 Star performance, the best performance since Scherchen's early 50's Westminster Mono Lp Set. If this does not necessarily surpass the Scherchen in terms of performance, it is indeed the finest performance we have in Stereo. Unfortunately Russian Disc has totally botched the sound in their transfer. The 2 Lp set which was on Columbia/Melodiya some 20-25 years ago, had much much nicer sound. Fortunately, an alternative CD transfer exists on the Locked In The Vault Label ( Cat # 50 ), which is far superior to this Russian Disc disaster, and also a step or two above the old Columbia/Melodiya Lp set as well!! For details, email lani_spahr@yahoo.com

Gliere: Symphony No. 3 in B minor ("Il'ya Muromets"), Op. 42 / Ippolitov-Ivanov:Caucasian Sketches, suite for orchestra, Op. 10 / Stravinsky: L'oiseau de feu (The Firebird), concert suite for orchestra No. 2 (1919 version)

Average customer rating:

Gliere: Symphony No. 3 in B minor ("Il'ya Muromets"), Op. 42 / Ippolitov-Ivanov:Caucasian Sketches, suite for orchestra, Op. 10 / Stravinsky: L'oiseau de feu (The Firebird), concert suite for orchestra No. 2 (1919 version)
Reyngol'd Moritsevich Gliere , Mikhail Mikhaylovich Ippolitov-Ivanov , Igor Stravinsky , Leopold Stokowski , and Philadelphia Orchestra
Manufacturer: Biddulph Records
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

Modern & 20th Century | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music
ASIN: B000009K90
Release Date: 1994-08-19

Track Listings: