Composer: Aram Khachaturyan
Works: Spartacus Suite (1956), Masquerade Suite (1941), Gayaneh Suite (1943)
Performers: London Symphony Orchestra, Stanley Black (conductor)
Recording: Recorded 1975, 1978, ADD
Label: Decca Eloquence 461 007-2
Aram Khachaturyan, a pivotal figure in 20th-century music, is often celebrated for his vibrant orchestral textures and colorful rhythms that draw heavily on Armenian folk traditions. The three suites presented in this collection—Spartacus, Masquerade, and Gayaneh—demonstrate his unique ability to blend nationalistic elements with a modern sensibility, revealing a composer who was attuned to the emotional currents of his time. The Spartacus Suite, in particular, gained renewed attention through its prominent feature in the BBC’s “The Onedin Line,” further solidifying Khachaturyan’s legacy in popular culture.
Stanley Black’s interpretation of these suites is marked by an effervescent energy that captures the theatricality inherent in Khachaturyan’s music. The Adagio from Spartacus, which served as the series’ thematic anchor, is delivered with a lushness that accentuates its lyrical qualities. Black’s approach is characterized by a deliberate pacing that allows the music’s emotional weight to resonate fully, though some purists may find it less compelling than performances by more historically inclined conductors such as Yuri Temirkanov or the earlier Svetlanov recordings. Nonetheless, Black’s reading benefits from the vivid and expansive sound afforded by Decca’s Phase Four technology, which enhances both the orchestral detail and the instrumental colors.
In the Masquerade Suite, Black adopts a spirited and unrestrained approach, particularly evident in the Mazurka, where the music’s exuberance comes to the forefront. Here, the orchestra’s strings deliver a vivacious attack, capturing the playful essence of Khachaturyan’s ballet. The contrasting sections within this suite are handled deftly, with Black successfully navigating the transitions from the whimsical to the raucous. However, one might argue that this ‘wild and woolly’ interpretation could overshadow the nuanced subtleties that other conductors have elicited from the score.
The Gayaneh Suite is equally engaging, embodying Khachaturyan’s penchant for folk-inspired themes. The Dance of the Rose Maidens, a highlight, is rendered with a tenderness that showcases the orchestra’s lyrical capabilities. Black’s orchestration choices shine here, as the lush woodwinds juxtaposed with the vibrant brass create a rich tapestry of sound. Furthermore, the suite’s references to other composers, such as Borodin and Rimsky-Korsakov, are acknowledged through Black’s expansion of texture, allowing the listener to perceive the intricate interplay of influences that shaped Khachaturyan’s style.
The engineering quality of this recording is commendable, with a clear and balanced mix that allows each instrumental section to shine. The orchestral sound is full-bodied and resonant, effectively capturing the dynamic contrasts of Khachaturyan’s orchestrations. While some may find this presentation slightly less gritty compared to live performances, it nonetheless serves the music well, presenting the listener with an enjoyable auditory experience.
Khachaturyan’s works, through Black’s interpretation, are rendered with a sense of joyous exuberance that is both engaging and accessible. While the performance may not reach the profundities of other interpretations, it provides a lively and colorful introduction to Khachaturyan’s orchestral world. The recording stands as a testament to the composer’s enduring appeal, revitalizing interest in his music and offering a delightful experience for both newcomers and seasoned listeners alike.
