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Grand Sextet / Quintet for Piano & Winds [Import]

Glinka , Rimsky-Korsakov Audio CD
4.7 out of 5 stars  See all reviews (7 customer reviews)

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Product Details

  • Audio CD (April 13, 2004)
  • SPARS Code: DDD
  • Number of Discs: 1
  • Format: Import
  • Label: Hyperion UK
  • ASIN: B0001FYR30
  • Average Customer Review: 4.7 out of 5 stars  See all reviews (7 customer reviews)
  • Amazon Best Sellers Rank: #257,429 in Music (See Top 100 in Music)

1. Gran sestetto originale, for piano & string quintet in E flat major, G. iv81: Allegro - Maestoso
2. Gran sestetto originale, for piano & string quintet in E flat major, G. iv81: Andante
3. Gran sestetto originale, for piano & string quintet in E flat major, G. iv81: Allegro con spirito
4. Quintet, for flute, clarinet, horn, basson & piano in B flat major: Allegro con brio
5. Quintet, for flute, clarinet, horn, basson & piano in B flat major: Andante
6. Quintet, for flute, clarinet, horn, basson & piano in B flat major: Rondo (Allegretto)

Editorial Reviews

Customer Reviews

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Most Helpful Customer Reviews
17 of 17 people found the following review helpful
5.0 out of 5 stars Excellent works, albeit little-known September 3, 2006
Format:Audio CD|Verified Purchase
This CD contains two works I would call "micro-masterpieces". The music does not rise to the level of, say, the Beethoven Septet or the two big Clarinet Quintets (Mozart and Brahms), but this is music that deserves more attention than it gets.

Glinka was one of the earliest composers from Russia who found an audience in Western Europe. This Sextet is indeed Grand -- the composer uses the piano to augment the string quintet in a way that approaches symphonic proportions. Just the first few bars tell you that you're in for something special. Glinka acheives a measure of musical ingenuity, combined with attention to the "Classical" form that marks him as the first home-grown Russian composer to be seriously reckoned with.

Rimsky-Korsakov became a more well-known and appreciated composer than the earlier Glinka. Although not "properly trained" in composition, he acheived a place in Russian classical music equal to that of the more-famous Musorgsky. Truth be told, I got this CD primarily for the last movement of the Rimsky-Korsakov Quintet. From the outset of the movement, the composer sets in motion a delicate repetitive rhythmic idea that carries the whole movement on gossamer wings. This is the kind of writing that is difficult to pull off -- serious enough for the "longhair" music fans, but delicate enough to entrance a 3-year-old.
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7 of 7 people found the following review helpful
5.0 out of 5 stars The Mighty Handfull. November 12, 2007
Format:Audio CD
As the previous reviewers have noted, in unison, enjoyment is the unadulterated reward from this splendid Hyperion recording.To my knowledge it is unique in the pairing of two much underrated chamber pieces.
I prefer the Glinka sextet. In its cosmopolitian outlook it could be said to be somewhat derivitive and I hear echoes of Schubert though the predominant piano part smacks of his brief lessons with the Irish composer, John Field. In the first movement's second subject does anyone else hear a direct six note filch from Mozart's Grand C minor Mass ?
Overall it bathes the listener in reflected sunlight, perhaps em - prisimed from the location of its composition, Lake Maggiore.

The Rimsky Quintet I find uneven. An impressive Andante gives way to an infectious rondo finale with a persistant dotted rhythm that stays with one.
Throughtout the Capricorn ensemble acquit themselves admirably and the recorded sound is well - night perfection. Truely a five star acquisition.
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5 of 5 people found the following review helpful
5.0 out of 5 stars TOPIC OF CAPRICORN March 18, 2007
Format:Audio CD
These two works seem top-notch in their way to me, and so do the performances here. Glinka was contemporary with Berlioz, and according to the liner-note they met in Italy and Glinka came under the influence of the fiery Frenchman. I could never have told. His Grand Sextet sounds to me entirely a product of the German tradition, and none the worse for that. You would know it was not Mendelssohn, but the general effect is not unlike Mendelssohn's, and the music seems good enough to me to keep company with Mendelssohn's own chamber works. What I would have been interested to know is whether Glinka was influenced by Schubert's Trout Quintet, which also incorporates a double-bass, although Schubert has only one violin to Glinka's two. Rimsky's Quintet for piano and wind seems to me finer still. There is a quotation from the composer to the effect that the first movement is classical in the manner of Beethoven, but again what I would have liked to be told was whether Rimsky had in mind Beethoven's similarly-scored quintet (with oboe instead of flute), this in turn being heavily influenced by Mozart's startling masterpiece for that combination.

However that may be, Rimsky's actual music does not remind me of Beethoven or Mozart in the slightest. The energetic first movement, `classical' or no, is about as far from Mozart's languid sublimity as can be imagined, the slow movement has real depth and strength to it, and throughout the work, but particularly in the comic finale, there is what I take for the early manifestation of a distinctively Russian idiom. I would even say (meaning no slight on Beethoven) that Rimsky's quintet is nearer in stature to Mozart's than is his own pleasant but derivative early work. Performance and recording seem to me completely admirable.
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3 of 3 people found the following review helpful
Format:Audio CD|Verified Purchase
This release took me by surprise, for good or and bad. To take the good thing first, Rimsky-Korsakov's music continues to surprise and impress me; if anyone is still under the impression that Rimsky-Korsakov's genius was restricted to glittering, magical orchestration (of often no more than mediocre ideas), his quintet for piano and winds should be disproof enough. It is not quite a masterpiece, but the thematic material is strong, it is expertly developed with several imaginative and beautiful details - well, perhaps there is more skill than inspiration overall, although, again, there is much of the latter as well. The opening and final movements are the strongest ones, but the overall result is impressive indeed. Of course, the wonderful scoring - glittering textures, wonderfully colored conversations between the instruments - is an asset, but it is certainly not the only factor that makes this work a real winner; it is a quite wonderful work that deserves a place in the repertoire.

In comparison Glinka's Grand Sextet (for piano and strings) is something of a dud. Rimsky undeniably learned a lot from Glinka - although presumably not much from his classically oriented sextet, which is a relatively early and not very recognizable work - but there is no denying that Glinka completely lacks Rimsky's level of sophistication and technical prowess. Yes, there are some moderately pleasing themes here but not enough to fill more than half the sextet's duration; listenable, to be sure, but meandering and hardly memorable. In both works, the Capricorn ensemble provides spirited, ebullient performances, sensitive to the colors and textures and generally very impressive. The sound is fine and has a good balance, although the piano sounds a little bit clangy at times.
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