R. Boiko Choruses & Romances on Verses by Isaakyan, Pushkin, Esenin Polynsky, Tevlin (1991)

When Shostakovich wrote his Piano Quintet in 1940, most of his chamber music had yet to be composed. Combining formal purity and freedom of tone, the quintet was hailed as a masterpiece and has remained his most popular chamber work. In the last years of a long and productive life, he composed a cycle of songs with piano trio, innovative in both form and structure, a hymn to art, friendship and nature possessing extraordinary evocative power. To tackle these major works of the twentieth century, the Trio Wanderer are joined here by violinist Catherine Montier, violist Christophe Gaugué, and mezzo-soprano Ekaterina Semenchuk.

Shostakovich - Romances, Songs Cycles for Bass and Piano (2011) {Brilliant Classics 9222 rec 1994}
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© 1994, 2011 Brilliant Classics | 9222
Classical / 20th Century

A fascinating programme of song cycles for bass and piano by the great Soviet composer Dmitri Shostakovich. Although the title “Romances” suggest idyllic meandering melodies, Shostakovich constructs several layers of emotions as expressed by the poetry, from innocent beauty to irony and deep despair. Performed with profound understanding by Russian forces.

Is Gerald Finley today’s Fischer-Dieskau? I don’t mean to suggest that their voices sound alike or that they share an interpretive perspective. But like his predecessor, Finley is comfortable in opera, oratorio, and song; his repertoire stretches from the Baroque period through Schubert and Wagner to the present; his sense of musical phrase is unfailing; he’s got a sensitivity to literary nuance, coupled with a clarity of enunciation, that few singers can match; and most important of all, his interpretations, for all their emotional immediacy, are marked by an astonishing level of intellect and care. He’s heard in peak form on this new release.

With its varying short-lived phases, King Crimson is well suited to the box set treatment, and overall, Frame by Frame: The Essential King Crimson doesn't disappoint. At four discs, it's perhaps a little hefty to serve as a comprehensive introduction for newcomers, even though it could work very well in that context; in the end, the box is more of a close-to-definitive package for fans who fall somewhere in between the realms of casual and devoted. The first three discs do an excellent job of summarizing King Crimson's extremely distinct prime-period lineups: the first disc concentrates on the often jazzy symphonic rock of 1969-1971 (including almost the entirety of In the Court of the Crimson King), the second covers the heavy, experimental soundscapes of 1973-1974, and the third features the off-kilter, new wave-influenced prog pop of 1981-1984. The fourth disc is a career-spanning sampler of live Crimson, and although the varying sound quality and musical styles make it a less cohesive listen than the other discs, it does give an excellent idea of the various lineups' extraordinary performing range.

Discover Johanna Domotor's newly interpreted sound combination, in which flute and string orchestra merge musically. The flutist Johanna Domotor not only shines in dizzying passages, she also juggles virtuously between original works and arrangements, between arranged baroque music and early modern music. The album captures the diversity of 20th century music and presents three world premiere recordings of famous composers such as Shostakovich, Arnold and Stravinsky. The collaboration with the Stuttgart Chamber Orchestra enhances the auditory experience, as Johanna Domotor and the Stuttgart Chamber Orchestra also make their long-standing musical friendship audible outside the concert hall with this album.