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Composers: Max Bruch, Manuel María Ponce, Wolfgang Amadeus Mozart

Artists: Davide Alogna (violin), José Adolfo Alejo (viola), Camerata de Coahuila (ensemble), Ramón Shade (conductor)

This rare and exciting recording brings together two instruments seldom heard together, despite the substantial repertoire that exists for the duo. Multi-award-winning violinist Davide Alogna pairs up with prominent violist José Alejo, combining their musical forces to an otherwise neglected repertoire.

The works presented here showcase the technical possibilities of both instruments, whilst displaying a range of expressive possibilities. They comprise the grand orchestral movements of Mozart’s quasi-romantic Sinfonia Concertante and Bruch’s sweeping Double Concerto, as well as the concise and technically demanding works for duo alone, including Louis Spohr’s exhilarating Grand Duo Op.13 and Halvorsen’s virtuosic Passacaglia on a theme by Handel.

Having performed at Carnegie Hall and worked with leading ensembles including the Northern Czech Philharmonic, Italian violinist Davide Alogna teams up with award-winning violist José Adolfo Alejo to add interpretive and technical prowess to these intricate works. Conductor Ramón Shade leads the Camerata de Coahuila, providing accompaniment from one of Mexico’s finest Orchestras.

00:00:00 Duo for Violin and Viola in G Major, K. 423: I. Allegro
00:06:44 Duo for Violin and Viola in G Major, K. 423: II. Adagio
00:10:01 Duo for Violin and Viola in G Major, K. 423: III. Rondeau. Allegro
00:15:15 3 Madrigals, H. 313: Duo No. 1
00:19:41 Duet for Violin and Violo, Op. 13: I. Allegro moderato
00:31:56 Duet for Violin and Violo, Op. 13: II. Adagio
00:36:20 Duet for Violin and Violo, Op. 13: III. Tempo di menuetto
00:41:54 Sonata a Duo: I. Allegro, piuttosto moderato
00:48:41 Sonata a Duo: II. In tempo di sarabanda. Andante espressivo
00:53:46 Sonata a Duo: III. Allegro
00:56:49 Passacaglia for Violin and Viola
01:03:13 Symphonie concertante in B-Flat Major, B. 112: I. Allegro
01:15:36 Symphonie concertante in B-Flat Major, B. 112: II. Rondo. Moderato
01:24:07 Sinfonia concertante in E-Flat Major, K. 364: I. Allegro maestoso
01:37:38 Sinfonia concertante in E-Flat Major, K. 364: II. Andante
01:46:57 Sinfonia concertante in E-Flat Major, K. 364: III. Presto
01:53:12 Double Concerto in E Minor, Op. 88: I. Andante con moto
02:00:50 Double Concerto in E Minor, Op. 88: II. Allegro moderato
02:06:00 Double Concerto in E Minor, Op. 88: III. Allegro molto

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Composer & Artist:
Composer: Franz Schubert
Artists: Diogenes Quartet, Stefan Kirpal (violin), Gundula Kirpal (violin), Stephen Ristau (cello), Julia Barthel (viola), Alba González i Becerra (viola)

About this Album:
This set presents the complete string quartets by Franz Schubert, including the completion of two unfinished movements, by Christian Starke.
Schubert’s string quartets span his whole creative lifetime. The early quartets are firmly rooted in the classical Viennese style, charming, fresh, lyrical and witty, the later quartets (Rosamunde, Death and the Maiden, G major) speak a deep, dramatic and sometimes grim language, full of Weltschmerz, hope and despair.
The German Diogenes Quartet have been delving deep into the world of Schubert over the past few years. Critics (Fanfare and other magazines) have praised “their genuine emotional engagement and real feeling for Schubert’s unique modes and moods of musical expression”, “immaculate execution”.
Excellent and extensive liner notes by musicologist and producer Christian Starke.

Tracklist:
The complete tracklist can be found in the comments!

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In these 24 preludes, spread over two books of equal length, Jeroen van Veen has been inspired by the key-order of Chopin, the piano-techniques of Franz Liszt and Sergei Rachmaninoff, the polyrhythmic textural layering of Philip Glass, the sound of Simeon ten Holt and the rhythms of Steve Reich, all governed by the guiding principle of less is more.

The preludes are highly representative examples of van Veen’s ‘Lego-brick’ aesthetic. The idea behind this is to create variation. Lego refers to the Danish phrase ‘leg godt’, which means ‘to play well’. Complexity is lent to such simple materials by the layering of irregular and compound time-signatures such as 5/8, 7/8, 11/8 and 13/8. Many motives reappear in various works, like Lego bricks in Lego structures do. Some Preludes such as No.18 are just a few ‘Lego bricks’ that can be repeated or even constructed in any order.

Since they were written in 2003-4, these simple preludes have inspired film-makers and artists in their own works; they have also provided the score to a ballet. After the success of Jeroen van Veen’s many recordings of minimal piano music for Brilliant Classics, this new release is sure to receive attention in the press. Most recently he recorded the complete piano works of Erik Satie in time for the 150th anniversary of the composer’s birth. His previous recording of the Preludes was well-received by the American Record Guide: ‘Veen’s own Minimal Piano Preludes, which take up two discs of the collection, are a must-have… his performances are more technically polished and conventionally musical: the music breathes.’

The Prelude, originally a short, often quasi-improvised, introduction to a work of larger proportions, gained in the course of musical history a new form, developing into a separate and free structure in which the composer lets his imagination free reign. Jeroen van Veen, champion of Minimal Music, about his own Preludes: “composed in a major and minor keys in the order of Chopin’s Preludes the basic idea was to see if I would limit myself to just a few chords and techniques if I could create different works. Of course I was inspired by the great classical masters; I tried to combine the order of Chopin, the piano-techniques by Franz Liszt and Sergei Rachmaninoff, the polyrhythmic by Philip Glass, the sound of Simeon ten Holt and the rhythms of Steve Reich. Each piece has its own character, starting from a minimalistic point of view: less is more.

00:00:00 Minimal Prélude No. 1 in C Major
00:05:40 Minimal Prélude No. 2 in A Minor
00:09:41 Minimal Prélude No. 3 in G Major
00:14:19 Minimal Prélude No. 4 in E Minor
00:18:42 Minimal Prélude No. 5 in D Major
00:22:07 Minimal Prélude No. 6 in B Minor
00:25:55 Minimal Prélude No. 7 in A Major
00:27:00 Minimal Prélude No. 8 in F-Sharp Minor
00:29:40 Minimal Prélude No. 9 in E Major
00:34:41 Minimal Prélude No. 10 in C-Sharp Minor
00:42:00 Minimal Prélude No. 11 in B Major
00:47:52 Minimal Prélude No. 12 in G-Sharp Minor
00:52:56 Minimal Prélude No. 13 in F-Sharp Major
00:59:49 Minimal Prélude No. 14 in E-Flat Minor
01:05:07 Minimal Prélude No. 15 in D-Flat Major
01:07:43 Minimal Prélude No. 16 in B-Flat Minor
01:10:39 Minimal Prélude No. 17 in A-Flat Major
01:15:14 Minimal Prélude No. 18 in F Minor
01:25:53 Minimal Prélude No. 19 in E-Flat Major
01:29:17 Minimal Prélude No. 20 in C Minor
01:33:30 Minimal Prélude No. 21 in B-Flat Major
01:38:08 Minimal Prélude No. 22 in G Minor
01:44:13 Minimal Prélude No. 23 in F Major
01:50:20 Minimal Prélude No. 24 in D Minor
02:00:14 Minimal Preludes, Book III: Prelude No. 25 in A Minor (Bonus Track)

Composer: Franz Liszt, Jules Deswert
Artists: Francesco Dillon (cello), Emanuele Torquati (piano)

Tracklist below.

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Many of Liszt’s works were transcribed for other instruments, both by the composer himself and other musicians.These hauntingly beautiful pieces for cello and piano were originally written for piano solo or the voice. They are from the final period of his life and are the product of his old age and his quest for spirituality. Far from the virtuoso brilliance of his earlier works, their intense and romantic melodies express melancholy and desolation, the sparse textures and harmonic instability daringly looking forward to the twentieth century. The rich and warm expressive qualities of the cello undoubtedly make these pieces even more effective.

The most significant work in this collection is La lugubre gondola, a compelling piece written after Liszt had a premonition of Wagner’s death. It was inspired by the Venetian gondola funeral processions he observed during a visit to the city to see Wagner.The music conveys the stillness of a Venetian lagoon, the unsettling harmonies also evoking the underlying darkness and despair. Another work with a very personal connection is the nostalgic Die Zelle in Nonnenwerth, a transcription of one of his songs. Nonnenwerth was an island in the Rhine where Liszt spent time with Marie d’Agoult and their children, and his fondness for the work resulted in many different versions for solo piano, voice and piano duet as well as this version for cello and piano. There are also transcriptions for cello and piano by other musicians of some of his most popular piano works, including the six Consolations, Angelus! from the third volume of Années de Pelèrinages and the Liebestraum No.3.

The performers of this moving collection of works are the Italian cellist Francesco Dillon and the pianist Emanuele Torquati. Francesco Dillon performs as a soloist and with chamber groups all over the world and has made several recordings of unusual cello repertoire, including an album of Schumann rarities for Brilliant Classics.

00:00:00 Première Elégie, S. 130 (1874)
00:04:46 Zweite Elégie, S. 131 (1877)
00:09:15 Romance oubliée, S. 132 (1880)
00:13:12 La lugubre gondola, S. 134 (1882–5)
00:21:23 Die Zelle in Nonnenwerth, S. 382 (1883)
00:27:32 Pensées poétiques/Consolations pour piano, S. 172 (1844–9) (arr. J. De Swert): No. 1 in C – No. 4 in D-Flat
00:31:48 Pensées poétiques/Consolations pour piano, S. 172 (1844–9) (arr. J. De Swert): No. 2 in A
00:34:23 Pensées poétiques/Consolations pour piano, S. 172 (1844–9) (arr. J. De Swert): No. 3 in E
00:38:38 Pensées poétiques/Consolations pour piano, S. 172 (1844–9) (arr. J. De Swert): No. 5 in G
00:41:15 Pensées poétiques/Consolations pour piano, S. 172 (1844–9) (arr. J. De Swert): No. 6 in C
00:44:18 Angelus! (Prière aux anges gardiens), S. 163, from Années de Pelèrinages: 3ème année, Italie (arr. L. Windsperger)
00:52:20 Liebestraum No. 3 in G, S. 541 (arr. M.Skalmer)

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Composer: Johann Sebastian Bach
Artist: Pieter-Jan Belder harpsichord

00:00:00 Goldberg Variations, BWV 988: Aria
00:05:02 Goldberg Variations, BWV 988: Variatio 1, a 1 clav.
00:07:16 Goldberg Variations, BWV 988: Variatio 2 , a 1 clav.
00:08:52 Goldberg Variations, BWV 988: Variatio 3, a 1 clav. – Canone all’unisono
00:10:48 Goldberg Variations, BWV 988: Variatio 4, a 1 clav.
00:11:42 Goldberg Variations, BWV 988: Variatio 5, a 1 ovvero 2 clav.
00:13:31 Goldberg Variations, BWV 988: Variatio 6, a 1 clav. Canone alla seconda
00:15:18 Goldberg Variations, BWV 988: Variatio 7, a 1 ovvero 2 clav. – al tempo di giga
00:16:47 Goldberg Variations, BWV 988: Variatio 8, a 2 clav.
00:18:26 Goldberg Variations, BWV 988: Variatio 9, a 1 clav. – Canone alla terza
00:21:17 Goldberg Variations, BWV 988: Variatio 10, a 1 clav. – fughetta
00:22:30 Goldberg Variations, BWV 988: Variatio 11, a 2 clav.
00:24:43 Goldberg Variations, BWV 988: Variatio 12, a 1 clav. – Canone alla quarta
00:26:55 Goldberg Variations, BWV 988: Variatio 13, a 2 clav.
00:30:22 Goldberg Variations, BWV 988: Variatio 14, a 2 clav.
00:32:41 Goldberg Variations, BWV 988: Variatio 15, a 1 clav. – Canone alla quinta, andante
00:37:49 Goldberg Variations, BWV 988: Variatio 16, a 1 clav. – Ouverture
00:40:57 Goldberg Variations, BWV 988: Variatio 17, a 2 clav.
00:43:02 Goldberg Variations, BWV 988: Variatio 18, a 1 clav. – Canone alla sesta
00:44:41 Goldberg Variations, BWV 988: Variatio 19, a 1 clav.
00:45:53 Goldberg Variations, BWV 988: Variatio 20, a 2 clav.
00:48:09 Goldberg Variations, BWV 988: Variatio 21, a 1 clav. – Canone alla settima
00:50:44 Goldberg Variations, BWV 988: Variatio 22, a 1 clav. – Alla Breve
00:52:21 Goldberg Variations, BWV 988: Variatio 23, a 2 clav.
00:54:11 Goldberg Variations, BWV 988: Variatio 24, a 1 clav. – Canone all’ottava
00:58:04 Goldberg Variations, BWV 988: Variatio 25, a 2 clav. – Adagio
01:03:34 Goldberg Variations, BWV 988: Variatio 26, a 2 clav.
01:05:48 Goldberg Variations, BWV 988: Variatio 27, a 1 ovvero 2 clav. – Canone alla nona
01:07:53 Goldberg Variations, BWV 988: Variatio 28, a 2 clav.
01:10:31 Goldberg Variations, BWV 988: Variatio 29, a 1 ovvero 2 clav.
01:12:51 Goldberg Variations, BWV 988: Variatio 30, a 1 clav. – Quodlibet
0:15:05 Goldberg Variations, BWV 988: Aria da capo

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Composer: Stephen Heller
Artist: Jan Vermeulen (piano)

Are piano exercises boring? They do not have to be if you combine the talents of composer Stephen Heller and pianist Jan Vermeulen. Almost every amateur pianist on a slightly more advanced level will have come across Heller. This French/Hungarian composer wrote mainly for the piano. There are over 150 Opus numbers. But he is best-known, or perhaps rather despised for his Piano Studies or Etüden. However, having mastered the necessary technique any pianist will enjoy playing these pieces. For Heller has succeeded in composing exercises which have remained real music as well.
In this release, pianist Jan Vermeulen stands up for Heller by playing the bulk of his piano studies, amounting to 80 pieces. His flowing performances do justice to the musical content of the pieces and make the listener forget any possible hang-ups this music might have caused him or her in the past.

Tracklist in the comments!

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Composer: Robert Schumann, Sergei Rachmaninoff
Artists: Klára Würtz (piano), National Symphony Orchestra of the Ukraine, Vladimir Sirenko (conductor), Nordwestdeutsche Philharmonie, Arie van Beek (conductor)

The ultimate romantic piano concertos. First of all thé piano concert by Rachmaninoff, Concerto No. 2, seconded by the only piano concerto that Schumann wrote. The soloist on this release is Klára Würtz.

00:00:00 Piano Concerto No. 2 in C Minor, Op. 18: Moderato
00:10:08 Piano Concerto No. 2 in C Minor, Op. 18: Adagio sostenuto
00:21:14 Piano Concerto No. 2 in C Minor, Op. 18: Allegro scherzando
00:32:50 Piano Concerto in A Minor, Op. 54: Allegro affetuoso
00:47:50 Piano Concerto in A Minor, Op. 54: Intermezzo
00:53:07 Piano Concerto in A Minor, Op. 54: Allegro vivace

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Composers: Frédéric Chopin, Sergei Rachmaninoff
Artist: Hans Roelofsen (double bass)

Say double bass and people will probably think of jazz music. In spite of pioneering composers like Bottesini and active present-day players like Dutch Hans Roelofsen and Rudolf Senn, the double-bass does not have a serious image in classical music. Maybe Saint-Saëns’ Carnaval des animaux has something to do with this.

Back in the nineteenth century there were several virtuoso performers on this instrument who also wrote music for it. Bottesini being the best-known of them. His virtuoso pieces seem to stretch the instrument with its intrinsic slowness to its limits.

The first part with recordings from 1988 gives some examples of these typical showpieces. On the second part Hans Roelofsen gives newly recorded performances of two sonatas by Chopin and Rachmaninov which were originally written for cello with piano accompaniment. These transcriptions show how versatile the double bass really is. It works surprisingly well: this is the truly romantic double bass.

00:00:00 DUETTO for Clarinet, Double-bass & Orchestra
00:08:34 Allegro moderato
00:14:38 Andante
00:20:16 Allegro
00:24:33 DUO CONCERTANT on Themes from Bellini’s “I Puritani”, for Cello, Double-bass & Orchestra
00:36:35 GRAND DUO CONCERTANT for 2 Double-basses & Orchestra
00:51:43 Allegro moderato
01:03:58 Scherzo, allegro con brio
01:09:30 Largo
01:13:40 Finale, allegro
01:21:14 Lento-allegro moderato
01:35:19 Allegro scherzando
01:41:59 Andante
01:48:08 Allegro mosso

Tracklist Below:
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Bach’s famous cello suites, recorded by cellist and early music specialist Jaap ter Linden. In addition to his increasing number of performances as a conductor, Ter Linden also remains active as an instrumentalist.

Ter Linden has worked together with the creamn of early music specialist such as Andrew Manze, Richard Eggarr, Emma Kirkby and Andreas Staier. For any cellist the suites are an important touchstone. Some careers can even be measured by the recordings of these works. Until the present day they remain the ultimate challenge.

True to his reputation, Ter Linden gives profound interpretations which invite the listener to play these performances time after time again.

Composer:
J.S. Bach

Artist:
Jaap ter Linden

00:00:00 Suite No. 1 in G Major / G Dur BWV 1007 : Prelude
00:03:13 Suite No. 1 in G Major / G Dur BWV 1007 : Allemande
00:08:03 Suite No. 1 in G Major / G Dur BWV 1007 : Courante
00:11:02 Suite No. 1 in G Major / G Dur BWV 1007 : Sarabande
00:14:07 Suite No. 1 in G Major / G Dur BWV1007 : Minuet I & II
00:17:27 Suite No. 1 in G Major / G Dur BWV 1007 : Gigue
00:19:19 Suite No. 3 in C Major / C Dur BWV 1009 : Prelude
00:22:56 Suite No. 3 in C Major / C Dur BVW 1009 : Allemande
00:27:21 Suite No. 3 in C Major / C Dur BVW 1009 : Courante
00:31:01 Suite No. 3 in C Major / C Dur BWV 1009 : Sarabande
00:35:08 Suite No. 3 in C Major / C Dur BWV 1009 : Bourrée I & II
00:38:52 Suite No. 3 in C Major / C Dur BWV 1009 : Gigue
00:42:23 Suite No. 5 in C Minor / C Moll BWV 1011 : Prelude
00:48:47 Suite No. 5 In C Minor / C Moll BWV 1011 : Allemande
00:55:34 Suite No. 5 in C Minor / C Moll BWV 1011 : Courante
00:58:01 Suite No. 5 in C Minor / C Moll BWV 1011 : Sarabande
01:01:03 Suite No. 5 in C Minor / C Moll BWV 1011 : Gavotte I & II
01:06:23 Suite No. 5 in C Minor / C Moll BWV 1011 : Gigue
01:08:53 Suite No. 2 in D Minor / D Moll BWV 1008: Prelude
01:12:53 Suite No. 2 in D Minor / D Moll BWV 1008: Allemande
01:16:34 Suite No. 2 in D Minor / D Moll BWV 1008: Courante
01:19:00 Suite No. 2 in D Minor / D Moll BWV 1008: Sarabande
01:23:47 Suite No. 2 in D Minor / D Moll BWV 1008: Minuet I & II
01:27:01 Suite No. 2 in D Minor / D Moll BWV 1008: Gigue
01:29:51 Suite No. 4 in E flat major/Es Dur BWV1010: Prelude
01:34:13 Suite No. 4 in E flat major/Es Dur BWV1010: Allemande
01:39:01 Suite No. 4 in E flat major/Es Dur BWV1010: Courante
01:42:48 Suite No. 4 in E flat major/Es Dur BWV1010: Sarabande
01:47:37 Suite No. 4 in E flat major/Es Dur BWV1010: Bourrée I & II
01:52:45 Suite No. 4 in E flat major/Es Dur BWV1010: Gigue
01:55:36 Suite No. 6 in D Major / D Dur BWV 1012: Prelude
02:00:37 Suite No. 6 in D Major / D Dur BWV 1012: Allemande
02:08:08 Suite No. 6 in D Major / D Dur BWV 1012: Courante
02:11:58 Suite No. 6 in D Major / D Dur BWV 1012: Sarabande
02:16:23 Suite No. 6 in D Major / D Dur BWV 1012: Gavotte I & II
02:20:42 Suite No. 6 in D Major / D Dur BWV 1012: Gigue

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Artists: Daniele Ruggieri, Andrea Toschi

With a repertoire spanning almost 150 years, from 1844 right up to 1992, this release brings together a wide range of works for flute and organ by composers from a variety of countries and musical backgrounds. During the Baroque period, it was common to pair the flute (or recorder) with the harpsichord; the combination here of flute and organ is by contrast far more exotic, the great power of which the latter instrument is capable pitted against the domestic nature of the former. The works on this release are all rare gems, showing just how well these two diverse timbres are able to complement each other – and at the same time revealing the great skill of many lesser-known composers.

While the music on this release spans a large period of time, many of the works share a common thread of religion spirituality. German composer Hiller uses a Lutheran hymn as inspiration for his work Andante religioso, and the pieces by French composers Caplet and Gallon are both infused with a deep sense of mysticism, particularly pertinent as Caplet retreated to a monastery later in life. The religious theme continues into the more contemporary works by Italian composers D’Aurizio and Lincetto; the former was a noted composer of sacred music throughout his life, and Lincetto’s work Messa degli artisti is a modern take on a traditional meditative prayer.

An enterprising and original programme of works originally written for flute and organ by a wide variety of composers, spanning more than 150 years (not the usual compilation of Baroque lollipops like the Albinoni/Adagio or the Bach/Air!).
Featuring are works by composers Hartmann, Lachner, Donjon, Doppler, Hiller, Gallon, Genzmer, d’Aurizio, Manzino. They explore the rich possibilities and diverse qualities of the two instruments in a fascinating way, sharing a spiritual or liturgical background.
Superbly played by Daniele Ruggieri, flute (“beautiful and playful display of virtuosity” The Times) and Andrea Toschi, organ.
Recorded in Padua.

00:00:00 Praeludium for Flute and Organ in G Minor
00:03:37 Elegie
00:10:07 Invocation
00:12:50 Offertoire, Op. 12
00:17:43 Idylle “l’oiseau des bois”, Op. 21
00:23:57 Andante religioso, Op. 6
00:30:29 Feuillets d’album: IV. Invocation
00:34:25 Recueillement
00:39:26 Sei brani liturgici: I. Introduzione
00:40:33 Sei brani liturgici: II. Offertorio
00:41:47 Sei brani liturgici: III. Pezzo semplice
00:44:49 Sei brani liturgici: IV. Sanctus
00:46:11 Sei brani liturgici: V. Preghiera in C Major
00:47:54 Sei brani liturgici: VI. Adagio
00:48:56 Due melodie facili: I. Andantino
00:50:38 Due melodie facili: II. Andantino
00:51:54 Adagio (1990)
00:58:22 Messa degli artisti (1980): Preghiera dell’artista
01:01:26 Messa degli artisti (1980): Elevazione
01:03:31 Sonata for Flute and Organ(1992): I. Adagio
01:08:59 Sonata for Flute and Organ(1992): II. Allegretto

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Composer & Artist:
Composer: Giuseppe Verdi
Artist: Daniela Nedialkova (soprano), Ivanka Ninova (mezzo soprano), Roumen Doikov (tenor), Emil Ponorski (bass), Choir and Orchestra of the Sofia Opera, Ivan Marinov (conductor)

About this Album:
In 1868 Rossini died, and the leading composers of the day grouped together to contribute to a jointly composed Requiem for the great man who had dominated Italian opera for half a century. Much to Verdi’s frustration, the work was never performed. In 1871, the director of the Milan Conservatoire asked him if he’d ever thought of composing a Requiem of his own – after all, he’d written the Libera me, the final part of the multicomposer work. Verdi dismissed the idea, saying that there were enough Requiems already.

In 1873, Verdi’s friend, and favourite author Alessandro Manzoni died aged 88. Verdi had first read his novels when he was 16 years old. He was devastated at the news of Manzoni’s death, so much so he was unable to attend his funeral. This provided the catalyst for what is the grandest of all Requiems. Premiered in 1874 with the composer conducting, it was an immediate success, and Verdi toured the work to Paris, London, Cologne and Vienna – in fact he conducted it more often than any of his operas. Overtly operatic in nature, it has been called ‘Verdi’s greatest opera’, but it is a deeply spiritual work, adhering to the traditional Mass for the dead. It ranks among the very greatest of religious works alongside Bach’s Mass in B minor, Mozart’s Requiem and Beethoven’s Missa solemnis.

Tracklist:
00:00:00 I. Requiem aeternam – Kyrie
00:08:52 II. Dies irae: Dies irae
00:10:53 II. Dies irae: Tuba mirum
00:13:42 II. Dies irae: Liber scriptus
00:18:24 II. Dies irae: Quid sum miser
00:21:59 II. Dies irae: Rex tremendae
00:25:15 II. Dies irae: Recordare
00:29:19 II. Dies irae: Ingemisco
00:32:26 II. Dies irae: Confutatis
00:37:24 II. Dies irae: Lacrymosa
00:43:09 III. Offertorium: Domine Jesu Christe
00:52:38 IV. Sanctus
00:55:10 V. Agnus Dei
01:00:19 VI. Lux aeterna
01:06:14 VII. Libera me

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Tracklist below.

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The complete sonatas for Viola da Gamba of Johann Sebastian Bach.

In this new recording of the magnificent (and still undervalued) sonatas for viola da gamba by Bach. The keyboard is an organ, a german school Rückpositiv. The use of the organ instead of the harpsichord has changed the interpretation of the musician to a large extent: the sustained sound of the organ tones (contrary to the quickly decaying sound of the harpsichord) heightens the tension of the harmonics, especially the dissonances. The length of the notes is therefore often shortened, taking into account the reverberant acoustics of the church, which also affected the tempo choices. In short, this interpretation is completely different from the harpsichord version, shedding a new light on these masterpieces by Bach, who himself was never averse to using different instruments for his works.

00:00:00 Sonata No. 1 in G Major, BWV 1027: I. Adagio
00:04:23 Sonata No. 1 in G Major, BWV 1027: II. Allegro ma non tanto
00:08:23 Sonata No. 1 in G Major, BWV 1027: III. Andante
00:10:47 Sonata No. 1 in G Major, BWV 1027: IV. Allegro moderato
00:14:13 Sonata No. 2 in D Major, BWV 1028: I. Adagio
00:16:27 Sonata No. 2 in D Major, BWV 1028: II. Allegro
00:20:21 Sonata No. 2 in D Major, BWV 1028: III. Andante
00:25:24 Sonata No. 2 in D Major, BWV 1028: IV. Allegro
00:29:54 Sonata No. 3 in G Minor, BWV 1029: I. Vivace
00:35:48 Sonata No. 3 in G Minor, BWV 1029: II. Adagio
00:42:15 Sonata No. 3 in G Minor, BWV 1029: III. Allegro

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In 1791, just after he completed The Magic Flute, Mozart received a call from a mysterious man commissioning him to compose a Requiem. The visitor gave Mozart an unsigned letter, which asked if he’d be prepared to undertake the composition, how much he’d charge for doing so and how long he would take to complete the work. The visitor returned a few days later, and paid the money Mozart had asked for, and was told that the work would be ready in four weeks. He who identified neither himself nor the name of his employer, and said that a person close to his master had died, and that his master wished to have a new Requiem performed in their memory.Mozart set about composition immediately, in spite of the fact that he also had to complete La clemenza di Tito for the coronation of Emperor Leopold in Prague.

By this time Mozart’s health was in a steep decline. He suffered frequent blackouts, and took to his bed, still insisting on working on the Requiem. His pupil Süssmayr helped him score the work, but Mozart died on 5th December 1791, leaving it unfinished. Süssmayr (who may have been romantically involved with Constanze at the time) was persuaded to complete the work.

Like the C minor Mass, the Requiem is a work of high drama, and written on a large scale. It set the pattern for the great Requiems of Berlioz and Verdi, especially in the Dies irae, where the writing is truly electrifying and the terror of the Day of Wrath palpable.

00:00:00 Requiem In D Minor, K626: I. Introitus: Requiem aeternam
00:04:45 Requiem In D Minor, K626: II. Kyrie eleison
00:07:30 Requiem In D Minor, K626: III. Sequenz. Dies irae
00:09:28 Requiem In D Minor, K626: III. Sequenz. Tuba mirum
00:12:34 Requiem In D Minor, K626: III. Sequenz. Rex tremendae
00:14:43 Requiem In D Minor, K626: III. Sequenz. Recordare
00:19:07 Requiem In D Minor, K626: III. Sequenz. Confutatis
00:21:36 Requiem In D Minor, K626: III. Sequenz. Lacrimosa
00:24:40 Requiem In D Minor, K626: IV Offertorium. Domine Jesu
00:28:26 Requiem In D Minor, K626: IV Offertorium. Hostias
00:32:26 Requiem In D Minor, K626: V. Sanctus
00:34:06 Requiem In D Minor, K626: VI. Benedictus
00:38:33 Requiem In D Minor, K626: VII. Agnus Dei
00:42:36 Requiem In D Minor, K626: VIII. Communio. Lux aeterna

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Composer: Franz Schubert
Artist: Diogenes Quartet

This release represents the final volume of the Diogenes Quartet’s integral recording of Schubert’s string quartets, spanning not only the composer’s well-known works but also the incomplete fragments, carefully reconstructed by Christian Starke. Schubert’s Quartet in G D887 came after the success of ‘Death and the Maiden’ and the ‘Rosamunde’ Quartet. It was his final work for string quartet; despite this, he struggled to get it published, and it was only performed for the first time posthumously. Even then, the quartet was not always well received, perhaps because it represented a departure from Schubert’s usual way of working with thematic material: for the first time, the theme in the first movement remains melodically the same, with the composer instead dramatically shifting the harmonic colouring underneath, allowing the theme to be revealed in different musical forms. While the slow second movement seems to follow a more traditional structure at first, it is soon interrupted with startling violent outbursts. The final movement is perhaps the most modern, as the individual voices tumble over each other in furious counterpoint, with barely a single note fulfilling a purely accompanying role.

Unlike the D887 quartet – one of Schubert’s most modern – the fragmentary movement D103 is one of the composer’s early works, probably started in 1814. Christian Starke’s completion features an additional transition in the reprise, which now begins with the opening gesture of the Allegro section, and allows the three expansive themes to be presented in a meaningful form.

The Diogenes Quartet are pleased to round off their complete recording of Schubert’s String Quartets, which represent years of careful musicianship and performances of the highest quality. The complete boxset is also available to buy (BC94468) and is the perfect addition to anyone wishing to fully explore the pleasing variety of Schubert’s music for quartet, which spanned his entire career.

This last recording in the Schubert Complete String Quartet cycle puts the crown upon a remarkable achievement by the German Diogenes Quartet, praised for its consistently high level of ensemble playing, full commitment and deep understanding of the composer’s dramatic language.
The CD ends with the famous Quartettsatz in C minor, an unfinished work, for this recording completed by musicologist and producer Christian Starke (who also wrote the excellent liner notes for the whole series).

00:00:00 String Quartet No. 15 in G Major, D. 887: I. Allegro molto moderato
00:22:46 String Quartet No. 15 in G Major, D. 887: II. Andante un poco moto
00:34:52 String Quartet No. 15 in G Major, D. 887: III. Scherzo. Allegro vivace – Trio. Allegretto 7’30
00:42:23 String Quartet No. 15 in G Major, D. 887: IV. Allegro assai
00:53:40 Movement for String Quartet in C Minor, D. 103: Grave – Allegro

Valentina Levko was another in the glorious line of Russian 20th-century contraltos who in some ways defined the sound of Russian opera for ears, both Eastern and Western, which were often discovering the rich tradition of Russian opera for the first time through recordings. Levko's name, however, unlike compatriots such as Elena Obratzova, never travelled as far or as well. Committed to her contract at the Bolshoi, she spurned several opportunities to make a name for herself in the West, with the lucrative recording contracts that would surely have followed. And yet hers was, as this important set reveals, a voice and dramatic presence firmly in the mould of greats of the past such as Zara Dolukhanova.

This video contains the 7th volume of the complete Valentina Levko: Star of the Bolshoi box-set. To download and stream the complete album click here: https://brilliant-classics.lnk.to/StaroftheBolshoi

00:00:00 Alexei Verstovsky - The Little Bell (F. Glinka)
00:03:11 Mili Balakirev - Embrace me, kiss me (Koltsov)
00:05:47 Alexander Varlamov - I feel sorry for you
00:08:57 Alexander Varlamov - Oh, do not kiss me
00:10:30 Alexander Gurilyov - Girl’s Sorrow (Koltsov)
00:15:01 Pyotr Bulakhov - And this world has no eyes
00:17:15 Pyotr Bulakhov - Do not stir up memories (Davidov)
00:21:39 Alexander Diubiuk - Do not scold me (Razorenov)
00:25:34 Alexei Verstovsky - The Old Husband (Gipsy song after Pushkin)
00:27:56 Pyotr Bulakhov - Russian Carriage-and-Three (Viazemsky)
00:30:32 Alexander Varlamov - Red Sarafan (Tsyganov)
00:34:04 Song of Ilinichna (Music for a Tragedy by Nestor Kukolnik ‘Count Kholmski’)
00:35:57 Oh, if I had known (Gypsy Song – Dmitriev)
00:40:55 I loved him (Koltsov)
00:43:52 Reminder
00:49:48 I loved you (Pushkin)

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These are not modern arrangements of two classic violin sonatas but classic examples of the art of transcriptions, made by two superb French cellists in the last half of the 19th century. They cater less for the demand of amateur musicians for repertoire for domestic music-making – even in their originals, the sonatas lie somewhere beyond the technical level of all but the most accomplished performers – but for the growing number of professional cellists who sought more than showpieces for their recitals yet were understandably frustrated by the lack of substantial contributions to the cello repertoire by composers of their time.

The greatest Parisian cellist of his day, August Franchomme, arranged the ‘Kreutzer’ Sonata in 1867. It is among Beethoven’s most ambitious pieces of chamber music, symphonic in scale. Reportedly, the first transcription for the cello was made by Carl Czerny, at the request of Beethoven himself. However, Czerny considerably simplified the most important virtuoso passages that had made this sonata a piece for seasoned musicians. Franchomme also made certain adaptations, inevitable when transcribing a piece of this complexity for a lower instrument, but he retained its sense of thrill and danger.

Composer :César Auguste Franck, Ludwig van Beethoven
Artist: Roberto Trainini (cello)
Christiano Burato (piano)

00:00:00 Violin Sonata No. 9 in A Major, Op. 47: I. Adagio sostenuto. Presto
00:14:13 Violin Sonata No. 9 in A Major, Op. 47: II. Andante con variazioni
00:30:13 Violin Sonata No. 9 in A Major, Op. 47: III. Finale. Presto
00:39:44 Violin Sonata in A Major, FWV 8: I. Allegretto ben moderato
00:46:04 Violin Sonata in A Major, FWV 8: II. Allegro
00:54:32 Violin Sonata in A Major, FWV 8: III. Recitativo-Fantasia. Ben moderato
01:02:02 Violin Sonata in A Major, FWV 8: IV. Allegretto poco mosso

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Composer & Artist:
Composer: Johannes Brahms
Artists: Chamber Choir of Europe, Nicol Matt (conductor), Friederike Haug (piano),
Jürgen Meier (piano)

About this Album:
Brahms’s vocal output is far more extensive than his instrumental oeuvre. And his choral works is least known.
From our recordings of the complete a cappella choral works by this composer we selected the sets of Liebeslieder. Performances by the outstanding Chamber Choir of Europe under Nicol Matt

Tracklist:
00:00:00 Liebeslieder - Walzer Op. 52 : Rede Madchen, Allzu Liebes
00:01:16 Liebeslieder - Walzer Op. 52 : Am Gesteine Rauscht Die Flut
00:02:09 Liebeslieder - Walzer Op. 52 : O Die Frauen
00:03:48 Liebeslieder - Walzer Op. 52 : Wie Des Abends, Schone Rote
00:04:32 Liebeslieder - Walzer Op. 52 : Die Grune Hopfenranke
00:06:14 Liebeslieder - Walzer Op. 52 : Ein Kleiner, Hübscher Vogel
00:09:02 Liebeslieder - Walzer Op. 52 : Wohl Schön Bewandt War Es
00:10:24 Liebeslieder - Walzer Op. 52 : Wenn So Lind Dein Auge Mir
00:11:49 Liebeslieder - Walzer Op. 52 : Am Donaustrande
00:14:01 Liebeslieder - Walzer Op. 52 : O Wie Sanft Die Quelle
00:15:02 Liebeslieder - Walzer Op. 52 : Nein, Es Ist Nicht Auszukommen
00:16:08 Liebeslieder - Walzer Op. 52 : Schlosser Auf Und Mache Schlösser
00:16:58 Liebeslieder - Walzer Op. 52 : Vögelein Durchrauscht Die Luft
00:17:50 Liebeslieder - Walzer Op. 52 : Sieh, Wie Ist Die Welle Klar
00:19:01 Liebeslieder - Walzer Op. 52 : Nachtigall, Sie Singt So Schön
00:20:22 Liebeslieder - Walzer Op. 52 : Ein Dunkeler Schacht Ist Liebe
00:21:52 Liebeslieder - Walzer Op. 52 : Nicht Wandle, Mein Licht
00:23:59 Liebeslieder - Walzer Op. 52 : Es Bebet Das Gesträuche
00:25:41 Neue Liebeslieder Op. 65 : Verzicht, O Herz, Auf Rettung
00:26:38 Neue Liebeslieder Op. 65 : Finstere Schatten Der Nacht
00:28:19 Neue Liebeslieder Op. 65 : An Jeder Hand Die Finger
00:29:45 Neue Liebeslieder Op. 65 : Ihr Schwarzen Augen
00:30:39 Neue Liebeslieder Op. 65 : Wahre, Wahre Deinen Sohn
00:32:04 Neue Liebeslieder Op. 65 : Rosen Steckt Mir An Die Mutter
00:32:59 Neue Liebeslieder Op. 65 : Vom Gebirge Well Auf Well
00:34:35 Neue Liebeslieder Op. 65 : Weiche Gräser Im Revier
00:36:41 Neue Liebeslieder Op. 65 : Nagen Am Herzen Fühl Ich
00:38:05 Neue Liebeslieder Op. 65 : Ich Kose Süß Mit Der Und Der
00:39:12 Neue Liebeslieder Op. 65 : Alles, Alles In Den Wind
00:40:03 Neue Liebeslieder Op. 65 : Schwarzer Wald, Dein Schatten
00:41:50 Neue Liebeslieder Op. 65 : Nein, Geliebter, Setze Dich
00:44:07 Neue Liebeslieder Op. 65 : Flammenauge, Dunkles Haar
00:46:21 Neue Liebeslieder Op. 65 : Zum Schluss: Nun, Ihr Musen, Genug
00:49:34 Drie Quartette Op. 31 (1864) : Wechsellied Zum Tanze
00:56:18 Drie Quartette Op. 31 (1864) : Neckereien
00:58:39 Drie Quartette Op. 31 (1864) : Gang Zum Liebchen
01:02:28 Drei Quartette Op. 64 (1874) : An Die Heimat
01:08:06 Drei Quartette Op. 64 (1874) : Der Abend
01:12:38 Drei Quartette Op. 64 (1874) : Fragen
01:16:21 Vier Quartette Op. 92 (1889) : O Schöne Nacht
01:20:32 Vier Quartette Op. 92 (1889) : Spätherbst
01:22:23 Vier Quartette Op. 92 (1889) : Abendlied
01:25:38 Vier Quartette Op. 92 (1889) : Warum
01:27:52 Zwei Quartette Op. 112a (1891) : Sehnsucht
01:31:07 Zwei Quartette Op. 112a (1891) : Nächtens

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This exciting German pianist continues his well-received traversal of the epitome of German Romantic music with a generously filled recital of some of Schumann’s most testing and poetic works. The Symphonic Studies fulfil their title in exploring advanced composition, bravura piano technique, unspecified scene painting and ‘character’ depiction, making a thrilling journey from ‘pathétique’ to ‘symphonic’ towards the unstoppable momentum of the extended finale.

Composer: Robert Schumann
Artist: Wolfram Schmitt-Leonardy piano

00:00:00 Carnaval, Op. 9: I. Préambule: Quasi maestoso
00:02:26 Carnaval, Op. 9: II. Pierrot: Moderato
00:04:25 Carnaval, Op. 9: III. Arlequin: Vivo
00:05:27 Carnaval, Op. 9: IV. Valse noble: Un poco maestoso
00:07:34 Carnaval, Op. 9: V. Eusebius: Adagio
00:09:18 Carnaval, Op. 9: VI. Florestan: Passionato
00:10:14 Carnaval, Op. 9: VII. Coquette: Vivo
00:11:49 Carnaval, Op. 9: VIII. Réplique: L’istesso tempo
00:12:47 Carnaval, Op. 9: IX. Sphinxes
00:13:50 Carnaval, Op. 9: X. Papillons: Prestissimo
00:14:36 Carnaval, Op. 9: XI. A.S.C.H.–S.C.H.A., Lettres dansantes: Presto
00:15:32 Carnaval, Op. 9: XII. Chiarina: Passionato
00:16:59 Carnaval, Op. 9: XIII. Chopin: Agitato
00:18:17 Carnaval, Op. 9: XIV. Estrella: Con affetto
00:18:47 Carnaval, Op. 9: XV. Reconnaissance: Animato
00:20:25 Carnaval, Op. 9: XVI. Pantalon et Colombine: Presto
00:21:21 Carnaval, Op. 9: XVII. Valse allemande: Molto vivace
00:22:19 Carnaval, Op. 9: XVIII. Paganini, Presto

00:24:06 Carnaval, Op. 9: XIX. Aveu, Passionato
00:25:08 Carnaval, Op. 9: XX. Promenade: Commodo
00:27:33 Carnaval, Op. 9: XXI. Pause: Precipitandosi
00:27:51 Carnaval, Op. 9: XXII. Marche des ‘Davidsbündler’ contre les Philistins: Non allegro
00:31:45 Nachtstücke, Op. 23: I. Mehr langsam, oft zurückhaltend (Trauerzug)
00:36:29 Nachtstücke, Op. 23: II. Markiert und lebhaft (Kuriose Gesellschaft)
00:41:27 Nachtstücke, Op. 23: III. Mit großer Lebhaftigkeit (Nächtliches Gelage)
00:45:15 Nachtstücke, Op. 23: IV. Ad libitum – Einfach (Rundgesang mit Solostimmen)
00:48:32 Toccata, Op. 7
00:55:40 Vier Klavierstücke, Op. 32: I. Scherzo: Sehr markiert
00:59:37 Vier Klavierstücke, Op. 32: II. Gigue: Sehr schnell
01:00:53 Vier Klavierstücke, Op. 32: III. Romanze: Sehr rasch und mit Bravour
01:04:12 Vier Klavierstücke, Op. 32: IV. Fughette: Leise
01:06:41 Presto passionato (original finale of Sonata No. 2)
01:13:09 ABEGG Variations, Op. 1: Thema
01:14:11 ABEGG Variations, Op. 1: Variation 1
01:15:36 ABEGG Variations, Op. 1: Variation 2
01:16:41 ABEGG Variations, Op. 1: Variation 3
01:17:38 ABEGG Variations, Op. 1: Cantabile
01:18:50 ABEGG Variations, Op. 1: Finale alla Fantasia
01:21:23 Intermezzi, Op. 4: I. Allegro quasi maestoso
01:24:38 Intermezzi, Op. 4: II. Presto a capriccioso
01:28:46 Intermezzi, Op. 4: III. Allegro
01:32:34 Intermezzi, Op. 4: IV. Allegretto semplice
01:34:31 Intermezzi, Op. 4: V. Allegro moderato
01:38:41 Intermezzi, Op. 4: VI. Allegro
01:41:40 Symphonische Etüden, Op. 13 (including 5 posthumous variations): Thema: Andante
01:43:03 Symphonische Etüden, Op. 13 (including 5 posthumous variations): Etüde I: Un poco più vivo
01:44:13 Symphonische Etüden, Op. 13 (including 5 posthumous variations): Anhang Variation
01:46:07 Symphonische Etüden, Op. 13 (including 5 posthumous variations): Etüde II: Espressivo
01:49:08 Symphonische Etüden, Op. 13 (including 5 posthumous variations): Etüde III: Vivace
01:50:27 Symphonische Etüden, Op. 13 (including 5 posthumous variations): Etüde IV
01:51:23 Symphonische Etüden, Op. 13 (including 5 posthumous variations): Etüde V: Scherzando
01:52:43 Symphonische Etüden, Op. 13 (including 5 posthumous variations): Anhang Variation 4
01:56:10 Symphonische Etüden, Op. 13 (including 5 posthumous variations): Etüde VI: Agitato
01:57:05 Symphonische Etüden, Op. 13 (including 5 posthumous variations): Etüde VII: Allegro molto
01:58:19 Symphonische Etüden, Op. 13 (including 5 posthumous variations): Anhang Variation 2
02:00:39 Symphonische Etüden, Op. 13 (including 5 posthumous variations): Anhang Variation 5
02:04:09 Symphonische Etüden, Op. 13 (including 5 posthumous variations): Etüde VIII: Sempre marcatissimo
02:06:43 Symphonische Etüden, Op. 13 (including 5 posthumous variations): Etüde IX: Presto possibile
02:07:24 Symphonische Etüden, Op. 13 (including 5 posthumous variations): Anhang Variation 3
02:08:49Symphonische Etüden, Op. 13 (including 5 posthumous variations): Etüde X: Con energia sempre
02:10:09 Symphonische Etüden, Op. 13 (including 5 posthumous variations): Etüde XI: Con espressione
02:13:28 Symphonische Etüden, Op. 13 (including 5 posthumous variations): Etüde XII: Finale, allegro brillante

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Composer & Artists:
Composer: Juan Vasquez
Artists: Quink Vocal Ensemble, Marjon Strijk, Mariëtte Oelderik (sopranos), Elsbeth Gerritsen (contralto) Harry van Berne (tenor), Kees Jan de Koning (bass)

About this Album:
Sacred music occupied an important role in 16th-century Spain, but there is much evidence that secular vocal polyphony held a place in society too. Such music is to be found in the little-known Juan Vázquez’s Recopilación which dates from around 1560; as well as canciones and soneto-madrigals, the collection includes various villancicos – the main focus of this recording – then a popular style of song and which Vázquez clearly overhauled through replacing endless repetition with melodic and rhythmic variety. That Vázquez’s contribution to the genre was both popular and significant (he wrote over 90 in total, most of which were set to texts by leading Spanish poets of the day) is demonstrated by the many later arrangements of his villancicos for vocal soloists with vihuela accompaniment.

Performing these highly engaging, deftly written works are the Dutch vocal group Quink, founded in 1978 and ranking among the world’s best a cappella ensembles. The recording, which can only serve to increase our appreciation for this largely-forgotten composer, underlines the group’s astonishing variety of tonal colour – of their Benjamin Britten CD, the New York Times drew attention to Quink’s ‘elegant phrasing, impeccable intonation and a purity of tone reminiscent of Renaissance madrigals.’

Little is known about the life of Spanish composer Juan Vasquez (fl. 16th century). A skilled and successful composer in the service of the King of Spain. His compositions are mainly secular, in the form of polyphonic madrigals and ‘Villancicos’, popular songs set for a vocal ensemble of 4 or 5 voices. The madrigals are on poetic texts by well known poets like Boscan and Garcilaso. The Villancicos are based on folk music and traditional texts, music brimming with joy, happiness and Spanish vitality!

Tracklist:
00:00:00 Cancione “Hermosíssima María”
00:03:21 Cancione “Gentil señora mía”
00:06:46 Soneto-madrigal “Gracias al cielo doy”
00:09:57 Villancico “No pensé qu’entre pastores”
00:12:42 Villancico “Quien amores tiene ¿cómo duerme?”
00:15:05 Villancico “Si n’os uviera mirado”
00:17:11 Villancico “Con qué la lavaré”
00:20:59 Villancico “Por una vez”
00:23:31 Cancione “¿Serrana, dónde dormistes?”
00:25:54 Cancione “¡O dulce contemplación!
00:28:25 Cancione “¡A, hermosa, Abrime, cara de rosa!
00:30:25 Villancico “¿Qué sentis, coraçón mío?”
00:32:28 Villancico “Por mi vida, madre”
00:34:30 Villancico “Del rosal sale la rosa”
00:37:22 Villancico “¡Torna, Mingo, a namorarte!”
00:39:34 Villancico “Morenica m’era yo”
00:40:55 Villancico “Qué razón podeys tener”
00:42:52 Soneto-madrigal “Bendito sea el día, punto y ora”
00:46:58 Soneto-madrigal “Amor, virtud y nobles pensamientos
00:50:39 Villancico “Dexa ya tu soledad”

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Composer & Artist:
Composer: Alfred Schnittke
Artists: Bolshoi Theatre (Orchestra), Andrei Chistjakov (conductor)

About this Album:
In 1978 Alfred Schnittke (1934-98) wrote the incidental music for a production of The Inspector’s Tale, an adaptation for stage of Gogol’s Dead Souls. It was to have been directed by Yuri Lyubimov, but the Soviet government banned the production. A suite was assembled from the score by Gennadi Rozhdenstvensky, and two leading colleagues of Schnittke – Gubaidulina and Denisov contributed a jointly composed march, which opens this CD. In 1985 the music was choreographed, the ballet, called Esquisses was performed at the Bolshoi. Schnittke composed a number of new pieces for this production. The characters in the action are all from Gogol, but in addition to The Dead Souls, we meet Tchitchikov, Major Kovalyov’s Nose, and Ferdinand VIII from Notes of a Madman. A passage from the book is recited in his piece, and is read by the conductor on this CD.

Tracklist:
00:00:00 March: The Swan, the Pike and the Crayfish
00:01:54 Overture
00:03:15 The Childhood of Chichikov
00:05:37 The Portrait
00:12:01 Major Kovalyov
00:12:44 Morning. The Disappearance of the Nose
00:14:15 In Search of the Nose
00:15:46 Despair
00:17:39 The Nose is Found
00:19:59 The Overcoat
00:22:15 Ferdinand VIII
00:23:24 The Civil Servants
00:25:54 The Barrel-Organ
00:28:04 The Unknown Woman
00:29:26 Pas de deux
00:32:59 The Debauch
00:34:28 The Sabbath
00:36:29 The Barrel-Organ
00:37:38 Spanish Royal March
00:39:18 The Ball
00:45:18 The Testament
00:50:35 March: The Swan, the Pike and the Crayfish


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