Evgeni Svetlanov (Taneyev)   (Russian Disc 10 044)
Item# C0064
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Evgeni Svetlanov (Taneyev)   (Russian Disc 10 044)
C0064. EVGENI SVETLANOV Cond. USSR S.O. & Yurlov State Choir, w.Kozlova, Kotova, Antonov, Belokrynkin: At the Reading a Psalm (Taneyev). Russian Disc 10 044, Live Performance, Moscow Conservatory, 1977. Long out-of-print, Final Sealed Copy! - 748871004429

CRITIC REVIEW:

“Yevgeny Svetlanov, the renowned Russian conductor who led his nation's State Symphony Orchestra for 35 years and was a guest conductor of orchestras around the world, was a leading interpreter of Russian composers, and his programs were hailed at home and abroad as disciplined, spirited expressions of Tchaikovsky, Shostakovich, Prokofiev, Rachmaninoff, Mussorgsky and Scriabin, but he also performed Mahler, Beethoven and others in the classic repertory.

One of Russia's most versatile musicians, he was known as a gifted pianist and as a composer of symphonies, instrumental chamber music and vocal pieces. But on tours that took him to Europe, Asia and the Americas, he often spoke of his affection for jazz, the big-band sounds of Glenn Miller, even the Beatles.

In a career that spanned the last decades of the Soviet Union and the vast changes in Russian life and culture of the post-Soviet era, Mr. Svetlanov began conducting for the Soviet All-Union Radio in 1953 while still a conservatory student. After graduation in 1955, he became an assistant conductor for the Bolshoi Theater, and he was its chief conductor from 1963 to 1965. In 1965, he was named artistic director and chief conductor of what was then known as the Soviet State Symphony Orchestra.

Reviewing Mr. Svetlanov and the Moscow Symphony performing Tchaikovsky's ‘Pathétique’ at Carnegie Hall in 1969, Harold C. Schonberg, the music critic of THE NEW YORK TIMES, wrote, ’In this work, there was discipline, there was power, and there was a spirit to the playing that made the work an absorbing experience’.

Mr. Svetlanov's style was not flashy, and his work was praised as sensitive to detail, grasping and molding the music into a structure, with interpretations that were sometimes sentimental but more usually full of power and free of superficial showmanship.”

- Robert D. McFadden, THE NEW YORK TIMES, 6 May, 2002