Leonid Borisovich Kogan was a preeminent Soviet violinist during the 20th century. Many consider him to be among the greatest violinists of the 20th century. In particular, he is considered to have been one of the greatest representatives of the Soviet School of violin playing.
The title of ECM's release of works by three composers born in the former Soviet Union perfectly captures the mood of the CD – it is truly mysterious. Although more than half a century separates the first of these pieces from the most recent, they share a sense of otherness that defies easy explanation. The pieces are not so much mysterious in the sense of being eerie (although there are several moments that might raise the hairs on the back of your neck if you were listening alone in the dark); they are unsettling because they raise more questions than they answer.
Sometimes there is a perfect match between repertoire, conductor, and orchestra: this album is one such example. Featuring the music from two ballets by Armenian composer Aram Khachaturian, it is very accessible to those who claim they do not like classical music, as its 20th century tonalities and film score-like qualities completely draw the listener in. The first track is dramatic and grand, worthy of a gladiator like Spartacus, and it leads into an adagio that is ethereal with cellos and harps.
Even with 15 other versions of Rimsky's masterpiece of orchestral virtuosity to choose from — some in the top flight — this was recognized from the first as one of the most rewarding, thanks largely to Krebbers's exceptionally sweet, gently appealing and bewitching personification of the story - spinning Scheherazade and to Kondrashin's skill in pacing and shaping movements as a whole, relating the diverse tempos and building up tension and dynamics by careful control so as to create climaxes of thrilling intensity and power. the 'shipwreck' finale, in particular, was overwhelming; and this was achieved without resorting to the ultra - fast tempos adopted by some conductors to whip up excitement. The Concertgebouw's crisp, sonorous and sensitive playing (full marks both to the splendid strings and to the wind soloists) was caught with the utmost fidelity; but the Compact Disc's total exclusion even of minimal extraneous background now marks a still further improvement, as can be judged by the dead silence against which Scheherazade's pleadings are heard. The final coda is ravishingly beautiful.