Cologne Cathedral

Robert Schumann often described the opposing “Florestan” and “Eusebius” facets of his own personality. The contrasts between the mercurial, exuberant Florestan and the more considered and introspective Eusebius comes into sharp focus when you compare these spectacular Chicago performances of Schumann’s Second and Third symphonies under Daniel Barenboim with their more recent Decca counterparts with Christoph von Dohnanyi and the Cleveland Orchestra.

Firma Melodiya presents Low Strings, the first release from the Melodiya Apriori series. For the past twenty-five years, a Russian label hasn’t released a project as uncommon and tricky as this. It is absolutely beyond the conventional notion of “chamber music recording,” neither by instrumental lineup (a viola, a cello and a double bass – it’s hardly the most advantageous of combinations that coincides lay belief), nor by selection of the music genres and styles.

The idea for "commentari" (Latin: to consider, to reflect) is based on tradition surrounding the martyr St Ursula and the musical setting of these traditions by Hildegard von Bingen in the sequence "O ecclesia". This piece composed by Dorothee Hahne in five movements reflects not only the tonal repertoire of the recorder, as represented by the diverse members of that family played by the virtuoso Dorothee Oberlinger, but encompasses the two performers' characteristic playing techniques with their acoustic and electronic instruments, as well as the acoustics of the church interior.