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These works are united by their emergence from under the Soviet heel. The most approachable is the Mozart pastiche by Pärt. The music has classical poise. It is based on the middle movement of Mozart's F major sonata written when the composer was nineteen. Its fidelity to Mozartian style can be compared with Silvestrov's Chopin and Beethoven works as well as Rochberg's works of the 1970s. The Schnittke is much more gritty and caustic. While it does have some moments of sampler fireside innocence it is mostly far too knowing to peddle much in the way of balm. Lesions and scar tissue are more the order of Schnittke's day. With Schnittke you are convinced that the wooden village is still a smoking desolation - comfort comes only in the self consolation of the final few bars (13.10) but it is a chilly comfort.

Vasks’ tribute to Messiaen does not sound like the French composer; no reason why it should. This is its second recording the first being on Conifer 75605 51272 2. The eight movement Episodi e canto perpetuo piano trio is gaunt and unforgiving. Late Shostakovich puts in an manic appearance from time to time as in Burlesca I. Burlesca II is suggestive of a dance of death. Then comes the unction of the Canto perpetuo where the lachrymose sense of reconciliation recalls the slow bloom of the ‘hymn’ from Panufnik's Sinfonia Sacra.

This version is recorded with more instant impact than the Conifer recording but is otherwise similarly intensely expressed.

Brief multilingual notes. CD presented in a cardfold sleeve.

Rob Barnett

 

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