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On this CD:
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Symphony No. 7
Composed by Alfred Schnittke
Performed by Russian State Symphony Orchestra
Conducted by Valéry Polyansky
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Concerto for Cello and Orchestra No. 1
Composed by Alfred Schnittke
Performed by Russian State Symphony Orchestra
with Alexander Ivashkin
Conducted by Valéry Polyansky
Product Description
Amazon.co.uk Review
Schnittke fans will delight in this recording of the Cello Concerto from 1986 and the Symphony No.7 of 1994. Valéry Polyansky conducts the Russian State Symphony Orchestra in searing performances of two works from the composer's last years when he was beset by illness. The spectre of death looms large in the music. The cello soloist, Alexander Ivashkin, rages against the dying of the light in an intense solo line which hardly lets up anywhere in the concerto's four movements. Funereal bells colour the background. The short Scherzo is a grotesque stamping dance culminating in a fortissimo of atomic strength. The finale is a long dirge-like passacaglia which develops into music of terrifying violence. The cellist remains defiant but has to be amplified in the last pages to compete. The Symphony No.7 has three movements. Its composition in 1994 left Schnittke so ill that he could not speak for four years afterwards. The mysterious, dissonant first movement leads into a stringy largo with ominous, doom-laden timps. The magnificent finale produces a gloriously long Brucknerian melody which, obtusely, is purest in its horn-delivered, triumphant, final manifestation. Schnittke will be one of those composers who become much greater after death than before. --Rick Jones
Schnittke fans will delight in this recording of the Cello Concerto from 1986 and the Symphony No.7 of 1994. Valéry Polyansky conducts the Russian State Symphony Orchestra in searing performances of two works from the composer's last years when he was beset by illness. The spectre of death looms large in the music. The cello soloist, Alexander Ivashkin, rages against the dying of the light in an intense solo line which hardly lets up anywhere in the concerto's four movements. Funereal bells colour the background. The short Scherzo is a grotesque stamping dance culminating in a fortissimo of atomic strength. The finale is a long dirge-like passacaglia which develops into music of terrifying violence. The cellist remains defiant but has to be amplified in the last pages to compete. The Symphony No.7 has three movements. Its composition in 1994 left Schnittke so ill that he could not speak for four years afterwards. The mysterious, dissonant first movement leads into a stringy largo with ominous, doom-laden timps. The magnificent finale produces a gloriously long Brucknerian melody which, obtusely, is purest in its horn-delivered, triumphant, final manifestation. Schnittke will be one of those composers who become much greater after death than before. --Rick Jones
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