Issay Dobrowen, Vol. 2 = RIMSKY-KORSAKOV: Tsar Saltan Suite, Op. 57; Suite from Le Coq d’Or; BORODIN: Symphony No. 2 in B Minor – Philharmonia Orchestra of London/Orchestre National de la Radiodiffusion Francaise (Borodin)/ Issay Dobrowen
Historic-Recordings HRCD 00042, 74:40 [www.historic-recordings.co.uk] *****:
Producers Paul Terry and Neal Kurz extend the scanty library of recordings inscribed by Russian virtuoso conductor Issay Dobrowen (1891-1953), who made a reputation based on his strong production of Boris Gudonov, but who also left the spirited recordings here reissued. The most extraordinary of these, the 1900 Tsar Saltan Suite from April 1952 (on Angel LP 35010) demonstrates the remarkable colors of the Philharmonia Orchestra’s woodwinds and trumpet sections, especially in the final sequence, “The Three Wonders.” That music derives much of its power from Rimsky-Korsakov’s fascination with Wagner’s music, especially the Forest Murmurs from Siegfried and the Magic Fire music from Die Walkuere. As is too often the case, the labeling for this disc mistakes “Sultan” for the correct Tsar “Saltan.”
Originally, I had preferred the Tsar Saltan much to the abuse of the 1907 Coq d’Or Suite (also from Angel 35010, rec. May 1952), but I find myself instantly beguiled by Dobrowen’s subtle coloration of the opening movement, Tsar Dodon in his Palace. A sultry grace permeates the oboe and strings when King Dodon is a Guest of the Queen of Shemakha, movement three. Perhaps, having been spoiled by Beecham in this brilliant music, I found Dobrowen understated–but no more. The woodwinds and battery of the Philharmonia literally shriek with oriental delights. The more diaphanous colors convey a wafted luxury in the intricate weavings of melodic tissue, always energized by Rimsky-Korsakov’s profound sense of both rhythm and orchestration. The Philharmonia flutes and triangle lift us through a distilled wonderland as though we were transported on Abu’s magic carpet from The Thief of Bagdad. The Wedding and Lamentable End of Dodon bring us Rimsky-Korsakov at his militant best, a counterpoint of pomp, circumstance, and inflated pride. Dobrowen elicits nothing short of a rousing interpretation from his British orchestra, producer Walter Legge’s pride and joy.
The Borodin Symphony No. 2 “Bogatyr” (Heroic) derives its musical sources from much the same spirit as Rimsky-Korsakov’s Tsar Saltan opera and Borodin‘s own Prince Igor. [It was the musical theme for the BBC Radio production of The Day of the Triffids, an excellent sci-fi audio drama…Ed.] For this 20 July 1952 version, we have Dobrowen before a crackerjack French orchestra, and their haunted string tone brings a hint of tragic melancholy to Borodin’s otherwise sturdy and resolute harmonies in major and minor thirds. The D Major secondary tune enjoys a refined sensibility. Like Liszt, Franck, and Schumann, Borodin finds the cyclic use of thematic materials attractive, so there may well be a Beethoven Fifth influence at work throughout the score. Great string and trumpet work in the Scherzo, syncopated and kaleidoscopic in its array of colors. The phrase lengths keep shifting, so to create a flurry of nervous activity. The lovely Andante, opening much like Smetana’s The High Castle with an invocation from a bard’s strumming his harp, we hear a Slavic mountain tune or lullaby, Borodin in a mode that equals Glinka and Tchaikovsky for inspired melody. Dobrowen invests this movement with a mystery and grandeur quite evocative of Friedrich’s famed portrait of The Wanderer Above the Sea of Mist. A panoply of oriental effects suffuses the last movement Allegro, including syncopated downbeats and the use of pentatonic and whole-tone scales. When Borodin adds cymbals, tambourine, triangle, and bass drum, we feel that Beethoven and Mozart’s janissary effects have been trumped by Slavic hearts. The last pages quite leap from the music page to the sound booth, and this reissue captures the Slavic electricity! This vital performance complements two fine interpretations from the same period by Kubelik and Mitropoulos. An important addition to any collector’s catalogue and a sure bet for my Best of the Year list.
— Gary Lemco
