Word: melodiya
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Like it or not, things are moving quickly for Brigada S. This summer the group will release its first two albums, following the top-selling unauthorized concert disk put out last year by Melodiya, the country's sole record label. There is talk of a U.S. tour as well, possibly in June. "We're hoping to sign a few small contracts," Sukachev admits. Still, he says he wouldn't give up the band's underground years for anything. "Those years are our strength," he says. "We'd be nothing without them...
...Jamaican reggae-rock group called Boney M., are from the hottest pop tune in the Soviet Union. In restaurants and bars throughout the country last week, disc jockeys were spinning the group's recording of Rasputin, which has been issued by the government record company Melodiya. At the same time, curiously, the sellout novel of the year depicts Grigori Rasputin's sexual escapades, including boudoir frolics with Russia's last empress, the Tsarina Alexandra...
Brahms: Sonata No. 2 in A, Op. 100; Prokofiev: Sonata No. 1 in F Minor, Op. 80 (David Oistrakh, violin; Sviatoslav Richter, piano; Angel Melodiya; $6.98). It was the perfect pairing, Oistrakh and Richter, on the most famous of the Brahms sonatas for violin and piano. This recording was made during a 1972 Moscow recital, 2½ years before the death of the great Soviet violinist. With loving attention to detail, at times unexpectedly puckish. Richter traced each phrase. No question, however, the show belonged to Oistrakh. Springlike and tender or with great gusts of Wagnerian passion, the music flowed...
Through its affiliation with Russia's Melodiya label, Columbia has just issued Berman's version of Liszt's twelve Transcendental Etudes, the twelve-year-old double-LP set that firmly established his reputation among record collectors. This is music that, for pure pianistic difficulty, begins where the Chopin Etudes leave off; rarely has it sounded more lyrical...
PROKOFIEV: IVAN THE TERRIBLE (Melodiya/ Angel). Prokofiev composed this music for Sergei Eisenstein's movie Ivan the Terrible in the early 1940s, but his means (oratorio-like) and aims (monumental) hardly allow it to be described as background music. Much of it is so impressive as to provide ammunition for those who predict that the best new music will be composed expressly to serve other arts. Yet the other arts can overwhelm-as sometimes in this case, when the narrator in Ivan (theatrically intoned in lyrical Russian by Aleksander Estrin) makes the work sound to non-Russian-speaking listeners...