Solemn Polonaise in Memory of Pushkin - Liadov

Russlan and Ludmilla Overture - Glinka

Coq d'Or Suite - Rimsky-Korsakov

Three Miracles from Tales of Tsar Saltan - Rimsky-Korsakov

Introduction, Waltz and Polonaise from Eugene Onegin - Tchaikovsky

Pushkin inspired Russian composers at least as much as Goethe and Shakespeare inspired western-European composers. Last Tuesday's lunchtime concert at the National Concert Hall celebrated the 200th anniversary of Pushkin's birth with music by 19th-century Russians and with readings from the literature from which they drew their ideas. The translations, in verse, were beautifully read by Bosco Hogan, and one of the most striking features of the concert was that just a few image-laden lines could conjure up many minutes of music.

Alexander Anissimov and the National Symphony Orchestra have often been at their best in Russian music, and focused rhythmic energy was one of the consistent features of this concert. The ferocious speed of Glinka's Russlan and Ludmilla overture pressed this famous piece to the limits of possibility; but timing was impeccable. The dance sections of the Introduction, Waltz and Polonaise from Tchaikovsky's Eugene Onegin had ecstatic, swirling energy, though they too were on the fast side. More impressive was the medium-speed, free, speech-like rhythm of the Introduction.

The most penetrating performances were of Rimsky-Korsakov's Coq d'Or Suite and Three Miracles from Tales of Tsar Saltan. In music with so much melodic repetition important points need definition; and when progress depends on subtle changes of colour, good orchestral balance is essential. In all these respects these performances were exemplary.