Since 2001, ECM has enthusiastically championed the art of Ukrainian composer Valentin Silvestrov with recordings of his orchestral, chamber and vocal works – creations that stand as some of the most arresting and moving in contemporary music. This continues in Silvestrov’s 75th birthday year with “Sacred Songs”, the seventh album ECM has devoted wholly to the composer’s music; it collects sets of songs, refrains, psalms and prayers composed from 2006 to 2008 that reflect the composer’s late-blooming interest in writing for a cappella voices, which led previously to the ECM releases “Requiem for Larissa” and “Sacred Works”.
Ukrainian composer Valentin Silvestrov (b.1937) is an important contemporary voice in vocal music. In this new release, Silvestrov’s hauntingly beautiful vocal works are performed by the Latvian Radio Choir under their director Sigvards Kļava. During his artistic career, Silvestrov has explored a number of musical styles and techniques, such as avant-guard, post-modernism, neo-classicism, dodecaphony, aleatoric writing and pointillism. The fall of the Soviet Union, however, allowed Silvestrov to eventually compose spiritual works, inspired and influenced by his love of the Russian Orthodox Church music which Silvestrov imbues with his own unique sound and bursts of surprising harmonic moves. Silvestrov’s compositions are invested with the composer’s own unique personality, musical sensibility and sense of beauty.
Alkan was counted in Busoni's pantheon of five romantics alongside Chopin, Schumann, Liszt and Brahms. Brahms and Schumann are the references in the euphoric Grand Duo Concertant - nothing short of a 20 or so minute Sonata in three turbulent movements. This is a work of diving romance and if Alkan had stopped in the style of the first movement then we would have been able to 'place' Alkan. Instead we get a second movement that clamours in bass heavy capering for all the world like a picture of a Black Sabbath. As if to make ‘amends’ the finale is back to the helter-skelter tumble of vivacity we find in the first movement. This euphoria carries over into the Cello Sonata which is in four classically well-tailored movements. Alkan's originality or eccentricity (take your pick) returns for the Adagio which is part sentimental and part affecting. This perhaps offers a parallel with Joseph Holbrooke's chamber works in which sublime ideas and treatment suddenly find themselves up against kitsch music hall ditties. A wild saltarello with grand manner Hungarian gestures from the piano round out the picture.
Ils sont cinq. Cinq amis, la trentaine, qui se retrouvent après plusieurs années pour une randonnée dans les Pyrénées, le temps d'un week-end. Romuald, le gamin des cités à qui tout a réussi, a invité Théo, Dorothée, David et Juliette dans son luxueux chalet …
Silvestrov wrote the pieces recorded here, scored for piano solo, string orchestra, and piano and strings, between 1996 and 2005, and they are all representative of his late, meditative, song-like style. After an early career as an experimentalist, Silvestrov embraced the radical simplicity – a style of tonal, melodic, and rhythmic transparency – that has won him many admirers in the general public, but little recognition by the academic community. It would be easy to hear his music as derivative, given the limited tonal palette to which he restricts himself; his apparently naïve and artless approach, however, has an integrity and a genuinely lyrical impulse that make it hard to dismiss.