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Klassiek - Verschenen op 28 augustus 2020 | Naxos

Hi-Res Booklet
Alexander Kastalsky was a student of Tchaikovsky and a mentor to Rachmaninov, becoming director of the Moscow Synodal School until the Bolshevik regime banned all sacred music, including the extraordinary Requiem for Fallen Brothers which consequently lay forgotten for over a century. The Requiem is a rich and varied mosaic that honours those who perished in the First World War, poignantly combining Orthodox and Gregorian chant with hymns from the allied nations, even including Rock of Ages. This unprecedented and peerless monument to those who made the ultimate sacrifice was acclaimed on its 1917 premiere as a ‘uniquely Russian requiem that… gave musical voice to the tears of many nations’. © Naxos
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Koormuziek - Verschenen op 10 augustus 2018 | Naxos

Hi-Res Booklet Onderscheidingen Gramophone Editor's Choice
Alexander Kastalsky (1856–1926) was one of the main musicians from the Russian religious sphere—at least up until the Russian Revolution, after which he cautiously turned toward the study of Russian folkloric music. A student of Tchaikovsky and of Taneyev, he quickly integrates the Moscow Synodal School, from 1887 up to its dissolution by the Bolsheviks in 1918. Composer, folklorist, skilled choirmaster, he knew how to freely move between genres and styles, even if a great part of his fame relied on his vision of the Ancient Russian sacred music, which he knew how to magically use in his own reinterpretations. For this Memory Eternal to the Fallen Heroes from 1917, we understand that he embraces both the sacred element and the Revolution cause: it is here a rewriting of his own of a work written two years earlier for choir and organ, being, as the Russian Orthodox Church doesn’t accept musical instruments in its midst, only voices. The proceedings of this work follow more or less the ones from the Byzantine Orthodox ritual, with the use of the cantor’s voice every now and then. Naturally, we cannot not think of Rachmaninoff’s Vespers written two years earlier, especially in the use of the modes and themes of the ancient liturgy, but in an intensely rich polyphonic rewriting. This is truly a beautiful work, magnificently sung by Stephen Fox’s Clarin Choir. © SM/Qobuz
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Klassiek - Verschenen op 1 januari 1996 | Фонд Евгения Светланова