ENJOTT SCHNEIDER (b.1950): Cello Concerto No. 1 “Dugud”, Sulamith - Danses sacrées for Cello and String Orchestra, Fatal Harmonies of Black Sweetness - Variations on Gesualdo’s “Moro, lasso, al mio duolo”, Abaddon - Angel of Abyss. Apocalyptic Scene for Cello and Orchestra, Lilith - Symphonic Poem for Orchestra.
Catalogue Number: 02S086
Reference: WER 5116 2
Description: Schneider has proven himself adept at choosing mythological subjects that lend themselves to depiction in monumental symphonic canvases of great drama and cinematic vividness of imagery (see, for example 11R086, 10S010, 12S011 and 11S010). He outdoes himself here in these concertante (all but one) works, so if your taste runs to dark, dramatic narratives about mythical creatures, demons, murderous geniuses and mysterious women, this disc is self-recommending. The one actually called 'cello concerto' is the three-movement, half-hour Dugud, which illustrates three myths about a bird god who appears in various cultures. Eroticism, violence, the spirits of those waiting to be born and the vigorous flight of eagles are depicted in the boldest colors of neo-romanticism, with a fiendishly virtuosic cello part including a huge cadenza mostly in double stops. Sulamith is the female protagonist of The Song of Solomon, and the three dances explore images of love, desire and death. The Fatal Harmonies are those of Gesualdo's 'Moro, lasso, al mio duolo', on whose strange chromatic chord sequence Schneider builds seven variations - brooding, ancient, modern - culminating in an ominous passacaglia. The two tone poems depict a nightmare figure from the Book of Revelation and the night demon Lilith, who turns up in many occult texts from ancient to modern times. Here Schneider lets loose with his most extravagantly vivid musical cinematography; the music is still basically tonal and romantic, but incorporating spectacular orchestral effects. László Fenyö (cello), Deutsches Symphonie Orchester Berlin; Ariel Zuckermann.