Track Listing

1. Alexander Nevsky, cantata for mezzo-soprano, chorus & orchestra, Op. 78: No. 1, "Russia under the Mongolian Yoke"
2. Alexander Nevsky, cantata for mezzo-soprano, chorus & orchestra, Op. 78: No. 2, "Song about Alexander Nevsky"
3. Alexander Nevsky, cantata for mezzo-soprano, chorus & orchestra, Op. 78: No. 3, "The Crusaders in Pskov"
4. Alexander Nevsky, cantata for mezzo-soprano, chorus & orchestra, Op. 78: No. 4, "Arise, ye Russian People"
5. Alexander Nevsky, cantata for mezzo-soprano, chorus & orchestra, Op. 78: No. 5, "The Battle on Ice"
6. Alexander Nevsky, cantata for mezzo-soprano, chorus & orchestra, Op. 78: No. 6, "Field of the Dead"
7. Alexander Nevsky, cantata for mezzo-soprano, chorus & orchestra, Op. 78: No. 7, "Alexander's Entry in Pskov"
8. Violin Concerto in D minor (also arranged for violin & piano): 1. Allegro con fermezza
9. Violin Concerto in D minor (also arranged for violin & piano): 2. Andante sostenuto
10. Violin Concerto in D minor (also arranged for violin & piano): 3. Allegro vivace

Product Details

• Amazon Sales Rank: #89325 in Music
• Brand: RCA
• Released on: 2000-09-12
• Number of discs: 1
• Format: Original recording remastered
• Dimensions: .23 pounds

Amazon.com essential recording
Here's an irresistible bargain: two of the glories of RCA's rich Living Stereo catalog on one midpriced disc. Reiner's performance of the concert work Prokofiev fashioned from his score to Eisenstein's film bristles with focused energy. Although the Russian text is given in English translation--the practice four decades ago when this recording was made--the splendid chorus and mezzo-soprano Rosalind Elias make a powerful impact. The orchestra is outstanding, full of imaginative solo touches and immense power--the Battle on the Ice is overwhelming, especially as captured in spectacular sound as fresh and immediate as anything recorded today. The Khachaturian too, is outstanding. Kogan's silky tone and idiomatic playing get everything there is to get from one of the composer's best works. Monteux and the Bostonians match him with verve in the outer movements and delicacy in the gorgeously sinuous Andante Sostenuto. This disc is a must-have. --Dan Davis

Customer Reviews

Outstanding recording of a stirring film score
The only real question is whether you really should see the film "Alexander Nevsky" first, before listening to this recording. I think so. I saw it perhaps twice, circa 1973-74, when it was featured on PBS. This recording conjured up a host of vivid, often jarring, images from the film that have never really left my consciousness. As great music, the score certainly stands on its own as an exceptional work of art. However, the full effect is achieved only if you also have been exposed to the accompanying images. The opening track on the CD is near the top of my list for most ominous and/or scary passages in music.

In brief, the late 1930's Soviet film recounted a 13th century attempt by the (German) Teutonic Knights to conquer Russia, and their defeat by a Russian army under Alexander Nevsky (who, by the way, is recognized as a saint by the Russian Orthodox Church). Produced before the Nazi-Soviet pact of 1939, it was conceived largely as anti-German propaganda, portraying the Knights as a brutally murderous gang, driven in part by a warped (Western) religiosity (thus also an anti-Christian, especially anti-Western Christian, subtext). Setting aside the historical debate over exactly how bloodthirsty the Knights really were, the film is extremely well-crafted, and the scenes of the Knights' depredations are truly haunting.

In the print that I saw aired on TV eons ago, the musical soundtrack was poorly-recorded. The sound ranged from murky to screeching. Nonetheless, it had a great power that was integral to the story. On this disc you can hear how that score should have sounded.

You might check the packaging of this same work in RCA's Basic 100 Series, Volume 72. As some of the customers reviewing that disc comment, it does seem rather odd that the vocals were done in English translation, rather than in Russian. I find this to be a rather minor issue, given the quality of the voices and the overall effect which transcends what actually is being sung (rather banal lyrics, in any tongue).

The Khachaturian piece is wonderful, and shows a side of the composer that may be unfamiliar to those who just know him from Gayane or Masquerade. If you'd prefer more Prokofiev, consider the Basic 100 pairing with Lt. Kije instead. Either way, you can't go wrong.

This Nevsky will kick your butt and cook you breakfast!
The probably apocryphal story is that while making Nevsky, they recorded a scratch track with fewer musicians before doing the final recording, played the movie for Stalin, he said "Love it! Don't change a thing!"-- and they were afraid to do the final recording after that, hence the crummy sound that the soundtrack of Eisenstein's film has had ever since. In reality it's probably a perfectly typical recording job for the mid-30s, but if it's how you know Prokofiev's score, this classic recording from less than two decades later-- but a different era in terms of recording technology-- will be a revelation. This is bombast at its finest, an incredibly vigorous and muscular and rousing performance, and after listening to it you'll wonder why Reiner didn't lead his orchestra out of the hall and straight to Russia to overthrow Communism. Especially given its bargain price, this is a great reissue and essential as an example of one of the great orchestra-conductor combos of all time.

Nevsky in English? Why not Porgy and Bess in Russian? But it's nice to have Kogan's Khachaturian back on CD
This nth CD reissue of Reiner's classic account from 1959 of Prokofiev's Alexander Nevsky doesn't need my endorsement, of course. But still, any comments on interpretation aside, it does suffer two drawbacks: one is that it is sung in English. Not a good choice, ultimately. It adds very little to the text's understandability - you still need the read the text to understand what the chorus is singing (it is provided in the excellent liner notes). And as excellently as the Chicago Symphony Chorus prepared by Margaret Hillis manages to imitate a deep sounding Russian chorus, the effect is somewhat akin to hearing Gospel or Negro Spirituals or Porgy and Bess sung in Russian - it's OK for Russians, I guess, but for purists it is simply not the authentic thing.

Another problem is the sound of this remastering. It is certainly wide and deep and ample and spacious, but there is so much stereo separation at times, with bass and brass confined to the right channel and violins to the left, that I can't help suspect some fiddling with the original sonics. I don't have the original LP to compare this reissue with, nor the previous CD reissues (with the Suite from Ltn Kijé, Glinka: Russlan and Ludmilla; Prokofiev: Lieutenant Kijé; Alexander Nevsky or Prokofiev: Alexander Nevsky; Lieutenant Kije Suite) but it sounds at times like those wretched "electronically-reprocessed stereo" mono recordings from the early stereo era. Sometimes more is not better. But maybe on loudspeakers it isn't as bothersome as heard over headphones.

I was stunned to see that this was only the first CD reissue of Leonid Kogan and Pierre Monteux' recording of Khachaturian's Violin Concerto, made in 1958, and it is good to have it back. The remastered sound is less blooming, ample and spacious than in Reiner's Nevsky, but much more natural, with a realistic balance between violin and orchestra - meaning that the violin is not prominent, but embedded in the orchestral texture. Kogan's tone may be leaner and less sunny than with the concerto's first performer and dedicatee, David Oistrakh, but he plays with precision and drive. The liner notes reproduce the original LP notes by Rudolph Elie, recounting Kogan's US debut on January 10, 1958, with the same orchestra and conductor, in Brahms' Violin Concerto. Khachaturian was recorded two days later (with Saint-Saens' Havanaise, the original LP coupling), and Monteux had never before conducted the piece. In the outer movements, you don't hear it. The orchestra has all the required snap and brilliance, marginally more even than Oistrakh and Khachaturian in their 1965 stereo recording with the USSR Radio and TV Symphony Orchestra (the brass in particular have great bite), and the two partners never milk the more lyrical moments, avoiding any mawkish sentimentality. In fact the approach is very similar to Oistrakh and KhachaturianÂ’s earlier, mono recording from 1954 with the London Philharmonia on HMV/EMI. Kogan practices a substantial cut in the first movement cadenza (18 measures, at 8:28) - Oistrakh always played his own cadenza, not the printed one. Like Oistrakh, Kogan also does a minor cut in the finale. It is only in the slow movement that Khachaturian and Oistrakh, especially in their later recording, delve deeper, developing a more brooding atmosphere, finding incomparable shades of soft dreaminess, and offering a more despaired climax.

I have the 1954 recording of Oistrakh and Khachaturian on Khachaturian: Gayane Suite for orchestra No1; Concerto for violin in Dm, but it now can be more cheaply found on Khachaturian: Violin Concerto/Taneyev: Suite de Concert - David Oistrakh, Aram Khachaturian, Philharmonia Orchestra. As for the 1965 stereo remake, I have it on a French Chant du Monde CD, volume 3 of the 15-CD "Edition David Oistrakh" published in the late 1980s (paired with Kabalevsky's Violin Concerto), and not listed on this website. The same recording can be found on on Khachaturian: Concerto for violin in Dm; Concerto for piano in Df paired with the Piano Concerto, in another composer-conducted performance with Nicolai Petrov, on Khatchaturian: Symphony No.1, Violin Con, a 2-CD set from Melodiya with various composer-conducted Khachaturian compositions, on a Mobile Fidelity CD with Sibelius' Violin Concerto (Rojdestvensky conducting), which, despite the horrendously incomplete product description, I assume is listed as Khachaturian/Viol, and on a 2-CD set from Vox with the same Sibelius, plus Franck and Shostakovich's Violin Sonatas played by Oistrakh and Richter (Sibelius: Concerto Op47; Franck: Sonata for violin in A).