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issue 121

This article was last
updated on
5 December, 2004




 




Marco Polo 
8.223613  
[59:24 + 63:57 + 71:38]
three discs, mid-price


Yellow River Cantata and Other Choral Works

XIAN XINGHAI
The Yellow River Cantata
Shanghai Philharmonic Chorus

HUAN ZHI LI
The East Is Red
Shanghai Philharmonic Chorus

NIE ER
National Song Of The People's Republic Of China
Shanghai Philharmonic Chorus

PIERRE DEGEYTER
Internationale
Shanghai Philharmonic Chorus

CHI LIU
My Motherland (Wo De Zu Guo)
Yongling Jin
Shanghai Philharmonic Chorus

TIE SU
Blood-Dyed Gallantry (Xue Ran De Fong Cai)
Yongling Jin
Shanghai Philharmonic Chorus


 

Yang Xiao Yong Baritone

Yu Pei Min Soprano

Shanghai Philharmonic Orchestra and Chorus

Cao Ding Conductor

        by Steven Ang


One of the most often played works in the short history of Chinese symphonic-choral music, the Yellow River Cantata has had the good fortune to receive numerous recordings, many of which are conducted by the legendary Maestro Yan Liang Kun spanning his near 60 year career and widely available at local street stalls and CD shops in Singapore's Chinatown. This performance on Marco Polo, led by his student Cao Ding, offers a different perspective from the norm.

As an aside, the piece will be performed at the Esplanade Concert Hall on 1st January 2005 (Sunday), at 7.30pm, by a combined chorus, the NUSSO (National University of Singapore Symphny Orchestra), under Maestro Yan Liang Kun himself. More information on the performance of the Yellow River Cantata is available here.

But enough of shameless plugging and on to the review. As a whole, Maestro Yan prefers breakneck speeds for thrilling dramatic effect. Cao Ding in contrast slows down much of the music, allowing each line its time before moving to the next,  while languishing on certain phrases for poetic effect. This modus operandi has its advantages, mostly as it allows the lush orchestration and choral writing becomes more apparent. In Duet By the River, the fourth movement on this recording (the 3rd movement suffers from the traditional cuts), the closing chorus is especially clearer. At the beginning of the march in the final movement, the conductor slows down the first 2 lines, then picks up speed to give a bigger contrast to the rousing climax.

However, there are also a few black marks to mention. Firstly, the omission of the 3rd movement, an accompanied recitative, makes it a less than complete recording. The only consolation is that most recordings do not feature this movement as well, so it isn't quite the travesty that one might imagine it to be. 

The uncredited narrator declaims his lines professionally, but in the final analysis lacks the oomph that a good storyteller needs. He is hampered partly by the slow tempi that Cao Ding adopts, which makes it difficult for him to read in sync with the music.  Baritone Yang Xiao Yong displays some strain in his voice in the first half of his aria, and his phrasing is a tad stiff, even though he steps up adequately by the end of the aria. Lastly, a melodic line in Yellow River Ditty has been inexplicably altered.

That having been said, there are many good reasons why you should buy this CD. The music of course, is one of the best works by a Chinese composer. At turns inspiring, heartbreaking, and then adrenaline-rushing, it is everything a symphonic music lover will love. Soprano Yu Pei Min’s performance of Lament to the Yellow River is melodrama at its best. I personally prefer a more dramatic vocal instrument for this piece, but Yu’s passionate and lyrical delivery is deeply convincing. The final movement, Roar of the Yellow River, is every bit as goose bump-inducing as the other recordings.

Maestro Cao Ding and the Shanghai Orchestra and Chorus have also recorded the work for Hugo Records in 1995, sold at Bras Brasah bookshops at full-price. But I personally prefer this one, for its more dramatic delivery, not to mention its budget price. Whereas the Hugo has bonuses of songs sung by the chorus to piano accompaniment and a little-known symphony by composer Xian Xing Hai, the accompanying bonuses (or fillers) on this disc are much more attractive, mostly the type of patriotic drum-roll-and-trumpets songs accompanied by soloists and full orchestra. Highlights include the Republic of China’s National Anthem, Internationale by Pierre Degeyter, a member of Paris’ defeated communist movement, and the karaoke favorite Blood-dyed Gallantry (Xue Ran De Fong Cai).

Once again... The Yellow River Cantata will be performed at the Esplanade Concert Hall on 1st January 2005 (Sunday), at 7.30pm, by a combined chorus, the NUSSO, under Maestro Yan Liang Kun. Check out our events page for more details. Tickets available at SISTIC.

In Singapore, EMI CDs may be bought most inexpensively from SING MUSIC, The number to call is (+65) 62358960. The address is 304 Orchard Road #02-75 Lucky Plaza Singapore 238863. Simply mention the magic words "The Flying Inkpot" and receive 10% off all purchases (except for nett items)                                                                                       

Readers' Comments


From: Silenos (omjuly@verizon.net / Friday, January 19, 2007 at 03:24:26)

The Rudy is indeed an excellent, superbly priced set. It includes the transitional op. 76 pieces and the charming op. 39 Valses, middle period Brahms that rarely find their way onto disc. Likewise, for this reissue, Rudy collates all four of Brahms late autumnal pieces which makes for a glorious seventy minutes or so of unequaled, bittersweet mastery. He wisely leaves the rather more rambunctious Rhapsodies to stand in their proper place, just following the op. 76 pieces. So overall, shouts to the programmers. As for the playing, Rudy is never less than remarkable. elegant and sensitive to the music's inner core of passion mingled with melancholy (part of Brahms's regret at having been born to late in Rosen's formulation,) but he is rarely revelatory. Devoted Brahmsian will accordingly need to supplement this recording of the op. 117-119 pieces with Lupu's transcendental account (who unfortunately did not choose to record the op. 116 Fantaisies) and seek the brilliant Gilels for the op. 116. I found Rudy's crisp articulation ideal in the various sets of variations but some might find Arrau's authority more to their taste in the Haendel piece. For those new to Brahms' piano music, however, this is an admirable starting point.

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