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Elizaveta Pakhomova, Tatiana Barsukova, Marina Dichenko, Olga Solovieva - Myaskovsky: Vocal Works, Vol. 1 (2021) [Hi-Res]

Elizaveta Pakhomova, Tatiana Barsukova, Marina Dichenko, Olga Solovieva - Myaskovsky: Vocal Works, Vol. 1 (2021) [Hi-Res]
  • Title: Myaskovsky: Vocal Works, Vol. 1
  • Year Of Release: 2021
  • Label: Toccata Classics
  • Genre: Classical
  • Quality: flac lossless (tracks) / flac 24bits - 44.1kHz +Booklet
  • Total Time: 01:08:23
  • Total Size: 281 / 582 mb
  • WebSite:
Tracklist

01. Lyric Book, Op. 72: No. 1, Will I Forget You?
02. Lyric Book, Op. 72: No. 2, Like a Sail That Flashes at Times
03. Lyric Book, Op. 72: No. 3, Cloudless April Day
04. Lyric Book, Op. 72: No. 4, How Often at Night
05. Lyric Book, Op. 72: No. 5, My Heart's in the Highlands
06. Lyric Book, Op. 72: No. 6, My Bonnie Mary
07. 12 Romances After Lermontov, Op. 40: No. 1, A Cossack Lullaby
08. 12 Romances After Lermontov, Op. 40: No. 2, I Go Out Alone on the Road
09. 12 Romances After Lermontov, Op. 40: No. 3, No., It Is Not You Whom I Love so Ardently
10. 12 Romances After Lermontov, Op. 40: No. 4, To the Portrait
11. 12 Romances After Lermontov, Op. 40: No. 5, The Sun
12. 12 Romances After Lermontov, Op. 40: No. 6, They Loved Each Other
13. 12 Romances After Lermontov, Op. 40: No. 7, in an Album
14. 12 Romances After Lermontov, Op. 40: No. 8, Romance
15. 12 Romances After Lermontov, Op. 40: No. 9, She Sings
16. 12 Romances After Lermontov, Op. 40: No. 10, Don't Cry, Don't Cry, My Child
17. 12 Romances After Lermontov, Op. 40: No. 11, From an Album
18. 12 Romances After Lermontov, Op. 40: No. 12, Forgive Me! We Will Not Meet Again
19. Violin Sonata in F Major, Op. 70 (Final Version): I. Allegro amabile
20. Violin Sonata in F Major, Op. 70 (Final Version): II. Theme, 12 Variations & Coda

Elizaveta Pakhomova, Tatiana Barsukova, Marina Dichenko, Olga Solovieva - Myaskovsky: Vocal Works, Vol. 1 (2021) [Hi-Res]


The dignified bearing and quiet wisdom of Nikolai Myaskovsky (1881–1950) gained him the sobriquet of "the conscience of Russian music" - and those qualities are reflected in the unemphatic strength of his music. His orchestral, chamber and instrumental works are regaining the currency they once enjoyed, but his large corpus of songs, many of them understated masterpieces, has yet to attract systematic attention – a situation this series hopes to remedy. The pairing here of his late Violin Sonata with his last two song-cycles for soprano and piano mirrors the Moscow concert in 1947 when all three were given their first performances.




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