THE VIRGINIAN-PILOT
Copyright (c) 1994, Landmark Communications, Inc.
DATE: Sunday, December 4, 1994 TAG: 9412020090
SECTION: DAILY BREAK PAGE: E6 EDITION: FINAL
TYPE: Music review
LENGTH: Medium: 62 lines
``Officium,'' the Hilliard Ensemble and saxophonist Jan Garbarek (ECM New Series)
On the heels of the recent Gregorian chant craze comes this unlikely collaboration. In the spirit of improvisation that characterized chant in its formative stages, this recording brings together Renaissance polyphony and improvised jazz to achieve a remarkable synthesis of old and new.
This combination works because of the similarity between four voices and saxophone in timbre and sustaining power. The result is sublime, ethereal, reverent music. The Hilliards sing with flawless intonation and mesmerizing consistency. Garbarek's saxophone moans, soars and floats above the plangent polyphony, blending tastefully with the voices. He effectively exploits the lower tones of his instrument in the languid ``Primo tempore.'' Works by Christobal de Morales, Piere de la Rue and several anonymous compositions are represented, all recorded in a resonant monastery acoustic.
The title ``Officium'' refers to ``Officium defunctorum'' (Offices of the Dead), a work by the Spanish Renaissance composer Christobal de Morales, from which the opening track, ``Parce mihi domine,'' is taken.
Terry Joy
Rachmaninov, Symphony No. 2, conducted by Mikhail Pletnev (Deutsche Grammophon), Mariss Jansons (EMI Classics) and Yuri Temirkanov (RCA)
This symphony, written in 1908 during one of the composer's most creative periods, has long been an audience favorite because of its gorgeous melodies and orchestration. These new recordings, featuring Russian conductors and orchestras, offer three differing views of this fascinating work.
Mikhail Pletnev, with the Russian National Orchestra (a group founded by Pletnev in 1990), presents the symphony in a forceful, dramatic manner, making the most of its lyrical content while also holding together the somewhat sprawling structure. Pletnev's brisk tempos are a big help in this. Solo playing and ensemble work are outstanding, and DG's recording has clarity and depth.
The other two recordings both feature the St. Petersburg Philharmonic, frequently considered Russia's finest orchestra. Mariss Jansons takes a lean, more consciously modern approach to the work, highlighting a number of interesting details in the orchestration, and again favoring a brisk though somewhat cool approach. Yuri Temirkanov presents the work as a free-wheeling Romantic fantasia, with frequent tempo changes and a much looser moment-by-moment approach; the work sometimes sprawls (especially as he repeats the first-movement exposition, adding to its length).
Pletnev's is one of the finest recordings of the symphony. Jansons can be recommended for those looking for a different approach. Temirkanov's idiosyncratic reading is full of interest if not ultimately as successful as its rivals.
Paul Sayegh, VP/LS MEMO: To hear exerpts from these recordings, call INFOLINE at 640-5555 and
enter category 2468. ILLUSTRATION: Photo
Mikhail Pletnev conducts the Russian National Orchestra. by CNB