As they have done before in somewhat different ways with music by Grieg and Percy Grainger, soprano Claire Booth and pianist Christopher Glynn here eschew the sets of music presented by Modest Mussorgsky in favor of reassembling them into a program of their own. This program depicts, in general, the phases of a woman's life, from "Nursery" through "Youthful Years," "Marriage," and final "Loneliness," preceded by a little "Prologue." One may suspect that Mussorgsky would have found this scheme odd, yet it works well for ...
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As they have done before in somewhat different ways with music by Grieg and Percy Grainger, soprano Claire Booth and pianist Christopher Glynn here eschew the sets of music presented by Modest Mussorgsky in favor of reassembling them into a program of their own. This program depicts, in general, the phases of a woman's life, from "Nursery" through "Youthful Years," "Marriage," and final "Loneliness," preceded by a little "Prologue." One may suspect that Mussorgsky would have found this scheme odd, yet it works well for several reasons. One is that, as the performers point out, Mussorgsky's songs were often intended for women, although it is men who mostly sing them. The program seems natural; Booth may not have a big Russian voice, but she conveys the dramatic thrust of the music, and the alternation with Glynn's solo piano pieces is well thought out and affecting. Another strength is that this is mostly little-known or "unorthodox" Mussorgsky. There are selections from his song cycles as well as...
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