Schnittke: Penitential Psalms (12)

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Schnittke's 12 Penitential Psalms (1988) aren't biblical: Nos 1-11 use 16th-century Russian texts and No 12 is a wordless meditation which encapsulates the spirit and style of what precedes it.... — Gramophone Classical Music Guide, 2010 More…

Catalogue No: 4535132
Label: ECM
Series: New Series
Length: 53 minutes

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Schnittke: Psalms Of Repentance For Mixed Choir

Work length52:46

$10.20

$13.80

Swedish Radio Choir
Tõnu Kaljuste
Recorded: 1999
Recording Venue: P2, Swedish Broadcasting Company

Psalm 1

Track length2:55

$0.85

$1.15

Psalm 2

Track length5:06

$0.85

$1.15

Psalm 3

Track length3:56

$0.85

$1.15

Psalm 4

Track length2:37

$0.85

$1.15

Psalm 5

Track length3:18

$0.85

$1.15

Psalm 6

Track length2:10

$0.85

$1.15

Psalm 7

Track length6:23

$0.85

$1.15

Psalm 8

Track length2:02

$0.85

$1.15

Psalm 9

Track length8:14

$0.85

$1.15

Psalm 10

Track length3:42

$0.85

$1.15

Psalm 11

Track length4:07

$0.85

$1.15

Psalm 12

Track length8:16

$0.85

$1.15

Reviews
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Reviews

2010

Schnittke's 12 Penitential Psalms (1988) aren't biblical: Nos 1-11 use 16th-century Russian texts and No 12 is a wordless meditation which encapsulates the spirit and style of what precedes it. Though at times dark and despairing in tone, this is in no sense liturgical music. It's too expansive, and reaches towards the ecstatic too consistently, to qualify as ascetic or austere.
Indeed, the warmly euphonious chorale-like textures with which several of the movements end are sumptuous enough for one to imagine a soulful saxophone weaving its way through them. As this suggests, the recording is extremely, and not inappropriately, resonant, and the performance is polished to a fault, the individual lines superbly controlled and the tex- tures balanced with a fine feeling for their weight and diversity. Although some may find this issue a little too refined, it realises the work's expressive world with imposing and irresistible authenticity. In these works, Schnittke seems to be doing penance for the extravagant indulgences of pieces such as Stille Nacht and the Viola Concerto, abandoning modernism in general and expressionism in particular. The music nevertheless retains strong links with the images of lament and spiritual aspiration, and there's nothing in the least artificial or contrived about its emotional aura. It's difficult to imagine a more convincing or better recorded account of it than this one.

Schnittke: Penitential Psalms (12)

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