Alfred Schnittke (1934-1998): Chorkonzert

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Detailed Information

+Minnesang;Voices of Nature

  • Artist: Holst Singers, Layton
  • Label: Hyperion , DDD, 01
  • Order number: 4457668
  • Release date: 15.2.2002

Konzert für gemischten Chor (1984/85)

  1. 1 1. O Pavelitel sushchevo fsevo Start
  2. 2 2. Sabran' je pesen sikh, gde kazhdyj sikh Start
  3. 3 3. Fsem tem, kto vniknet Start
  4. 4 4. Sej trud, shto natchinal ja s upavan'jem' Start
  1. 5 Voices of Nature (für 10 Frauenstimmen und Vibraphon) (1972) Start
  2. 6 Minnesang (für 52 Stimmen) (1980/81) Start

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Unquestionably one of the choral masterpieces of the 20th century, Alfred Schnittke's Concerto for Mixed Chorus is an extended setting (about 40 minutes' duration) of words from 'The Book of Lamentations' by the Armenian monk Grigor Narekatsi (951-1003). Written in 1984 / 5, it is scored for a very large choir and for this recording Holst Singers were augmented by large contingents of London's finest singers.

Like Wagner (in Tannhäuser) and Richard Strauss (in Guntram), Schnittke was attracted to the poetry and music of the minnesingers, the German medieval tradition of courtly lyrics and secular monophony. At first he planned to write an instrumental piece (intended for his third violin concerto) based on songs by the minnesingers, but he later rejected this idea and decided to keep these vocal melodies for vocal music. The result is Minnesang (1980 / 81) for 52 voices (18 sopranos, 12 altos, 10 tenors and 12 basses).

The third work on the disc is the haunting and evocative Voices of Nature, from 1972. This is a vocalise—that is, without words—for ten female voices and vibraphone. Its first public performance took place in spring 1975. Superb performances directed by the recipient of the recent Gramophone Award for the Best Choral Record of the Year (Britten's Sacred and Profane, CDA67140), Stephen Layton.

Rezensionen


'One of the most imposing of all Schnittke's later works … superbly performed' (The Guardian)

'if the concerto does not ultimately go down as one of the masterpieces of the late twentieth century choral repertoire, I shall be staggered' (International Record Review)

'spinetingling … music great for contemplation, and a terrific showcase for the choir’s stamina' (The Times)

'high vocal standards … A fine introduction to some rare and satisfying repertoire' (The Observer)

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