Zhukov has participated actively in new music festivals
throughout his career, particularly in Russia, but also in such festivals as
the International Podium Festivals (Prague), the Charles Ives Festival (USA),
the Week van de Heden Musiek (Belgium). Many of his works since 1980 have been
premiered at the Moscow Autumn Festival.
With his interest in the deep processes of our spiritual
life, Zhukov has become fascinated by esoteric teachings about the ways in
which humanity has acquired moral and emotional experience.
Sergey Zhukov’s compositions include a large catalogue of
chamber, choral, orchestral, and theatrical works. He has written four ballets:
Insomnia, staged in Bolshoi Theatre
of Russia in 1999; Fatum, staged in
2001 in Maly Opera and Ballet Theatre in St. Petersburg; Solaris (1990) and Scarlet
Floret (2007) staged in Dnepropetrovsk (Ukraine) Opera and Ballet
Theatre.
Zhukov has placed particular emphasis on the genre of the concerto
including his Concerto for Orchestra and
Percussion (1990), Concerto-Partes
(1992) for string orchestra, Concerto-Sacra
(1997) for piano trio and strings. But the most significant in his
creativity is the macro-cycle of four instrumental concertos: Silentium (2001), for piano and
orchestra; Gesthemania Night (2003) for electric cello, mixed chorus, six
horns, trio percussions and prepared piano; Angel’s Day (2004) for violin
and orchestra and Concerto-Mystery
(1994) for violin, cello, piano and
orchestra.
It is Silentium (2001), for piano and orchestra
and Angel’s Day (2004) for violin and
orchestra that are featured on a new release from the enterprising Cameo
Classics label www.wyastone.co.uk/all-labels/cameo-classics.html
CC9047CD |
There is a short period of silence in the opening of Part I before the piano picks out a motif against a hushed orchestra. This is soon slowly developed with the piano phrases becoming occasionally dramatic. It is this juxtaposition of silence against piano motifs that encapsulates this music. Halfway through, the orchestra develops a more melodic theme for woodwind before the piano re-enters in cascading, falling phrases imitated by the orchestra. The music eventually quietens though retaining a dramatic underlying tension. Dancing, staccato phrases for the piano are developed against a brittle orchestra before quietening and fading to silence. A languid theme for piano and orchestra with chiming bells brings Part I to an end.
Part II opens with
a rapid, insistent toccata theme for piano against a percussive orchestral
accompaniment. The music builds slowly to a dramatic explosion from the
orchestra. The bells return before the music disintegrates, leading to an
incisive string passage, set against timpani that builds insistently to a
climax. Eventually the music opens out to a more expansive piano theme joined
by the orchestra in the same expansive theme. The music quietens to a hush but
the orchestra throws out two loud outbursts before the piano leads to a hushed conclusion.
Part III has a
quiet and gentle ascending theme for the piano before a vibraphone and other
percussion join in this atmospheric, hauntingly strange movement. As the piano
slowly moves the music forward, strange orchestral sounds are heard in the
background before leading to a climax after which the piano gives a descending cascade
of notes. A hushed section, where the piano picks out a theme against odd
little orchestral interventions, leads to a quiet coda.
Part IV has a
short orchestral opening before the piano arrives with motoric rhythms
constantly repeated. Soon a jazz like theme appears over a percussive
orchestral sound. Suddenly there are piano and orchestral outbursts against
moments of silence leading to disjointed phrases for piano over a dramatic
orchestral accompaniment. The piano continues to dance around the keyboard set
against dramatic orchestral outbursts before a climax is reached bringing
staccato orchestral and piano phrases. Soon the jazz element returns as the
piano hurtles forward with the orchestra ever faster before a sudden silence
with only hushed, tinkling orchestral sounds.
Broad piano chords open Part
V before the pianist recites the texts by the Jewish poet, Osip Mandelstam over
the beautiful, languid piano and orchestral melody. The piano and orchestra
fade to silence to end.
This is a striking and often beautiful concerto brilliantly
played by Eleonora Bekova, who is able to move from hushed delicate playing to
the most virtuosic piano passages with ease, ably supported by Marius Stravinsky
and the Moscow State Symphony Orchestra.
Violin Concerto
‘Angels Day’ was written for the violinist on this recording, Elvira Bekova
www.felcinobianco.com/elvira/Elvira_Bekova_01.htm and reflects Zhukov’s portrait of both
the Angel and the performer. This live recording features Konstantin Krimets www.konstantinkrimets.ru conducting
the Moscow state Symphony Orchestra http://msso-kogan.com
Timpani underline a brooding orchestral opening of the first
movement, Morning Touch, with the
solo violin appearing at its extreme, highest register, creating an un-earthly
sound. The orchestra rises up in swathes of sound, surely one of the strangest
and most beautiful of openings. Soon the violin develops a theme against a
delicate orchestral accompaniment, slowly rising in drama. The music descends
to a quiet shimmering section for violin and orchestra, where Zhukov is quite
magical in his orchestration. A celeste plays a little tune against a hushed
solo violin, again high in its register, as the movement concludes.
A little ringing bell opens Messenger before the violin enters in a skittish motif. The
orchestra joins as the violin speeds, in this fleet footed scherzo, full of fantasy and wit. The music is in the form of a
moto-perpetuo in its insistent yet entertaining way. Eventually a broader
orchestral section appears before the solo violin joins, playing a rather
acerbic theme. Soon the moto-perpetuo returns hurtling the music to a plateau
with some beautifully translucent orchestral writing in which the soloist joins.
The music slowly quietens and fades.
Vespers opens with
a hushed orchestra over which there are drips or points of sound given by various
percussion instruments. This dark, mysterious adagio is brilliantly conceived. As the orchestra fades to silence
the solo violin enters with a descending scale, the orchestra joins and repeats
the scale into the depths. The violin brings a lovely melody underlaid by a
hushed, mysterious orchestral background. Elvira Bekova is superb, the way she
brings such a lovely tone and an anguished feel to her timbre. Slowly the music
builds in tension and drama as the orchestra, after a bell chime, becomes
increasingly dynamic leading to a sudden climax with the powerful orchestra
almost engulfing the soloist who, nevertheless, weaves a rising and falling
theme through the orchestra that eventually collapses to leave the soloist and
hovering strings. A skittish descending motif for violin is repeated against an
atmospheric orchestral sound, with celeste and bell chimes, leading to a hushed
coda. This is music that sticks in the mind.
A descending theme over a tolling pulse from the orchestra
opens the fourth and final movement, Night
Flight, effectively the scherzo with allusions to Glinka, Prokofiev and Schoenberg.
There is soon an outburst, with bells, before the soloist enters, slowly
building the rapid theme with an orchestra full of texture. The music lightens
as it moves forward, the violin now playing a real melody. This is a real treat
with Bekova creating a real tapestry of sounds. Schoenberg appears, then Glinka
before the music rises to a fine climax, full of brass and a theme from Prokofiev’s
seventh symphony makes an appearance. The music falls to a hush, in a gorgeous
section for soloist and orchestra, with celeste and bells and the soloist high
in her register fading into silence.
This is an exquisite conclusion to a very fine work.
There is always a lyrical, tonal core to Zhukov’s music. He
is a composer that we need to hear more of. The two soloists are first rate and
are very ably supported by Marius Stravinsky and Konstantin Krimets with their
two respective orchestras.
The recordings are very good though, in the violin concerto,
the soloist is rather closely miked and there is the odd cough from the
audience.
There are useful booklet notes.
Cameo Classics should be congratulated for enabling us to
hear these two fine works. Lovers of contemporary Russian music should snap
this disc up.
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