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Leningrad Harp & Concertos

Tatiana Tower (harp), Leningrad Chamber Orchestra, Leningrad Philharmonic Orchestra, Edward Serov

Frescoes of St Sophia of Kiev, not so much a concerto as a series of character pieces, shows off the range of Tower’s tone and technique. These are even more in evidence in Ginastera’s Concerto,...

Leningrad Harp & Concertos

Tatiana Tower (harp), Leningrad Chamber Orchestra, Leningrad Philharmonic Orchestra, Edward Serov

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This release includes a digital booklet

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Frescoes of St Sophia of Kiev, not so much a concerto as a series of character pieces, shows off the range of Tower’s tone and technique. These are even more in evidence in Ginastera’s Concerto,...

About

This is dedicated to the remarkable Russian harpist Tatiana Tower who became a musical legend of Leningrad. Born in Moscow in 1945 she started playing harp at the age of four on the advice of her aunt , soloist of the Bolshoi Theatre. She studied at the Gnessin College, and at the Moscow Conservatory. In 1969 she won the first International Harp Competition in Hartford, USA, and became a prize winner of international music festivas of Latin America. In 1968, Tatiana Tower’s life took a momentous turn – she became soloist of the Leningrad Philharmonic Orchestra headed by Evgeny Mravinsky

Contents and tracklist

I. Ornament I
Track length2:41
II. The Beast Attacks the Horseman
Track length1:50
III. Ornament II
Track length0:58
IV. Group Portrait of Yaroslav the Wise’s Daughters
Track length2:58
V. St. Michael’s Aisle
Track length3:46
VI. Mummers Wrestling
Track length2:07
VII. Musician. Wandering Clowns
Track length8:46
VIII. Ornament III
Track length1:05
I. Allegro
Track length8:52
II. Molto moderato
Track length6:14
III. Liberamento capriccioso
Track length7:37
No. 1, Danse sacrée
Track length9:20
No. 11, November. On the Troika (Arr. X. Erdely for Harp)
Track length3:11

Awards and reviews

June 2021

Frescoes of St Sophia of Kiev, not so much a concerto as a series of character pieces, shows off the range of Tower’s tone and technique. These are even more in evidence in Ginastera’s Concerto, uniting Tower with her colleagues of the Leningrad Philharmonic, where lyricism rubs shoulders with acerbic attack.
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