"With Tango Ballet - an early Piazzolla piece written to accompany a short film - we have yet another [Kremer] gem. Divided up into six movements, Tango Ballet slyly melds chamber music and ballet with tango themes (the Argentinean wasn't yet bitten by the jazz bug when he wrote this). The next grouping, Concierto del Angel, is the real show-stopper on this disc. These highlights from Piazzolla's brooding Angel series of compositions erupt in the spirited hands of Kremer and his ensemble. The bandoneon playing of Per Arne Glorvigen adds a sonic depth not found on Tango Ballet and Kremer - especially on Resurreccion del Angel - sounds simply gorgeous. Kremer's 1998 interpretation of Piazzolla's opera Maria de Buenos Aires is also an essential work. This recording features pieces that are less noteworthy, but the playing is just as exquisite. A must-have for Piazzolla fans."

"This is lesser-known repertoire, that doesn't seem to travel too well outside France. Interesting enough ,though. Perlemuter studied these works with Faure himself (who at that time was the director of the Paris Conservatoire), so this is more or less how the composer has meant the works to sound. There's more to Faure than Requiem ..."

"As cellist Mstislav Rostropovich says, "With Alfred Schnittke, it's impossible to predict what comes next." This compelling CD is typical of much of Alfred Schnittke's chamber music: ironic, unpredictable, annoying, intriguing. The String Trio, commissioned by the Alban Berg Foundation for Berg's centenary, was modified into a piano trio seven years later. Schnittke's mantra-like repetition of the Happy Birthday tune is a brilliant stroke, particularly when the tune begins to dissolve. He enhances the effect with Bergian pathos throughout the piece. Sometimes it dips briefly into a romantic wellspring, where it lingers until shattered by ominous chords. As performed by Gidon Kremer, Yuri Bashmet, and Mstislav Rostropovich, the String Trio is a dynamic piece, more appealing than its piano trio clone because of its tonal density. (...)
This world-premier performance of the Concerto for Three begins with a fugue-like passage, only to change character several times before its conclusion. Sometimes it is a showcase of solo passages, as the three instruments banter back and forth; other times, they wander aimlessly. Concerto for Three, despite its talented performers, is not a stirring, ironic, or even an eloquently morose piece. The showy finale is moderately amusing, although not profound. The three instruments squabble with each other until a jarring note from a piano ends it all, like a pail of water thrown on a dogfight.
The second world premier, the three-minute Minuet, is a delightful example of Schnittke's polystylism. It is unclear whom or what he is satirizing--Mozart perhaps? The minuet form itself? Whatever the case, its skewered, off-key melody creates images of drunken, late night dancers with smeared faces. It is a wonderful pastiche and, as Mozart would say, contains just as many notes as necessary."

"Alfred Schnittke has always been the subject of controversy: his German roots were suspicious in the Soviet Union; his modernism rejected by Khrenikov and his apatatsjiks; his freedom in composition reactionary to Western avant-garde; his public success a thorn in the side of music critics. This CD encompasses all these reservations: from the politically incorrect citation of Rossini to the pre-serial melodic and virtuoso-playing, these esquisses [sketches] show a composer using all possible resources available to deliver his message. Yet a message implies a program, a philosophy of some sort. For Schnittke this would be to let go all dogmas that chain music. His music breathes the sweet smell of freedom. It used to be different. I've always found it strange to explain or report on music. It needs to be experienced at first hand. Contemporary classical music is a difficult subject to communicate. This however goes beyond it; the external form of the classical orchestra is about the only relic still standing. In rock music, you hear the blues and recognise the salute; in jazz, the evolution is also noticable. And in Schnittke, all possible styles are brilliantly melted into his own. Buy this CD, and do yourself a favour."

"Exact and transparent recording, played with gusto - very distinct and clear, the Melos Quartett conveys the 'modern' feeling of the twenties and thirties of the last century without becoming melodramatic or overplaying the score. Better try to enjoy these two quartets in the concert hall but lacking a live performance, listen to this cd."

"... Today, Igor Tchetuev tries a synthesis by a more homogeneous reading. The plays of plugging light and of low deaf sounds are magisterially balanced. The score takes a not very common power. ... The beauty of the piano of Tchetuev, in particular in the sound crackling of both allegros is striking of expression. His play is at the same time shingling and deep, answering, cherishing and slapping the keyboard. One remains fascinated by this reading sight of an impressive height. Let us add to this integral which is essential on the top production for piano of Schnittke, the Improvisation and Fugue (1965)... The projection of the play of Tchetuev andits expression of the sarcasm in the Fugue are a treat."

"It's good to have all four of Schnittke's violin concertos in one slimline two-disc set in definitive performances by Gidon Kremer, a passionate advocate for his friend's music. Concerto No. 1 is a student work revised in 1963 that is still worth hearing. Concerto No. 2 is a knotty work with a subtext based on the life of Jesus. The Third Concerto is scored for a wind-heavy chamber orchestra and ranges across a musical landscape that includes Mahler, Schubert, Russian Orthodox chant, Berg, and Hindemith, yet remains a fascinating personal statement. The magnificent Fourth is the prize of the set, one of the century's most profound and disturbing concertos. Written for Kremer in 1984, it has lyrical passages of ethereal beauty, but also jagged, violent orchestral eruptions that silence the lone violin, reducing it to silent gestures. This theatrical touch is modified for recording purposes by the soloist's finding an aural equivalent of the visual effect, sounding like frustrated sighs here. Eschenbach and the various orchestras provide first-class backing and Kremer's contributions are beyond praise. Not to be missed."