This week we introduce an interesting compilation of works by, and inspired by, Schubert, a recital of intimidating Russian pieces performed by a 20 year old prodigy, and a couple of 20th century cello concertos.
In Schubert’s Company. Performed by Maxim Rysanov and Riga Sinfonietta.
“In Schubert’s Company presents violist Maxim Rysanov as a soloist, conductor, arranger and commissioner of new music. Alongside works including Schubert’s Symphony No.5, Violin Sonata No.3 and Polonaise for violin & orchestra are pieces from three contemporary composers who have drawn on Schubert as the source for their works. Winterreise, Erlkönig and his late Fantasy for violin & piano are among the inspirations behind this powerful recital that explores how the haunting beauty of Schubert’s music continues to influence on today’s performers, composers and music lovers alike.” (amazon.com)
À la Russe. Performed by Alexandre Kantorow.
“Not yet 20 years old, the French pianist and son of violinist and conductor Jean-Jacques Kantorow […] explores his Russian roots, in a recital that opens with Rachmaninov’s weighty First Piano Sonata, inspired by Goethe’s play Faust, and its three main characters, the scholar Faust, his beloved Gretchen and Mephistopheles, the Devil’s emissary. The nostalgic intimacy of Méditation and Passé Iointain, from Tchaikovsky’s Op. 72 collection, offers respite from the drama, but tension returns with Guido Agosti’s virtuosic piano arrangement of three extracts from Stravinsky’s Firebird. Kantorow closes his Russian recital with Mily Balakirev’s ‘oriental fantasy’ Islamey, one of the iconic works of the piano literature.” (amazon.com)
Cello Concertos, Shostakovich & Martinů. Performed by Christian Poltéra, Gilbert Varga and the Deutsches Symphonie-Orchester Berlin.
“The two cello concertos by Dmitri Shostakovich were both written for his friend Mstislav Rostropovich but whereas the first is rhythmic and virtuosic, the second is subdued and introverted. Composed in 1966, it is often regarded as a watershed work, heralding Shostakovich’s final stylistic period marked by a certain sombreness and a trend towards more transparent scoring. The op. 126 concerto has become somewhat overshadowed by its older, more accessible sibling, something which also applies to the second work on this disc, for completely different reasons. Having completed his Cello Concerto No. 2 in 1945, Bohuslav Martinu was unsuccessful in his attempts to interest a leading cellist in promoting it [… and the work] didn’t receive its first performance until 1965, six years after Martinu’s death.” (amazon.ca)