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Symphony 1 / Viola Cto / Triple Overture

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Audio CD, August 22, 2000
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Song TitleArtist Time Price
listen  1. Symphony No. 1: I. Lento - Allegretto - Poco adagioRussian Philharmonic Orchestra 9:56Album Only
listen  2. Symphony No. 1: II. Allegro furioso - Moderato - Allegro furioso - ModeratoRussian Philharmonic Orchestra 7:34$0.99  Buy MP3 
listen  3. Symphony No. 1: III. SostenutoRussian Philharmonic Orchestra 7:03$0.99  Buy MP3 
listen  4. Dirge and AwakeningRussian Philharmonic Orchestra10:20Album Only
listen  5. Viola Concerto: I. MaestosoLars Anders Tomter10:21Album Only
listen  6. Viola Concerto: II. Variations [Largo assai] -Lars Anders Tomter 6:27$0.99  Buy MP3 
listen  7. Viola Concerto: III. Allegro moltoLars Anders Tomter 3:48$0.99  Buy MP3 
listen  8. Triple OvertureBekova Sisters11:48Album Only

Product Details

  • Audio CD (August 22, 2000)
  • SPARS Code: DDD
  • Number of Discs: 1
  • Label: Alliance
  • Run Time: 68 minutes
  • ASIN: B00004TZSB
  • Average Customer Review: 4.8 out of 5 stars  See all reviews (4 customer reviews)
  • Amazon Best Sellers Rank: #208,015 in Music (See Top 100 in Music)

Editorial Reviews


"The Bekovas’ performance is most enjoyable. This is music of our time that I most strongly urge you to enjoy."(The Strad (Great Britain) review of Gerber Triple Overture, October 2000) -- (The Strad - Great Britain, review of Gerber Triple Overture, October 2000)

About the Artist

The Bekova sisters, Elvira (violin), Eleonora (piano) and Alfia (cello) have been playing together since childhood in Kazakhstan and after a period of forced separation and persecution in the former Soviet Union are now one of the most celebrated chamber ensembles. "A PR department’s delight: the Bekova Sisters attract more praise- can they do no wrong?" …captioned the review of the Bekovas’ Chandos Tchaikovsky Piano Trio recording in Classic CD of July 1999. Praised for the impeccable suppleness and lilt of their rhythm, spotless intonation, subtle interplay, uncanny unanimity, and exemplary judgement of mood and formal perspective, this recording was one of that magazine’s ‘Choice’ selections. A similar accolade was bestowed by the BBC Music Magazine selection of their Chandos recording of Martinu Trios as a CD of the year in 1998. The Strad Magazine hailed the Bekova CD of Clarke and Ives Trios as its recording of the month in October 2000 and the same disc was one of Gramophone Magazine’s Critics’ Choice for the year 2000. Their recording of the Shostakovich piano trio has been repeatedly regarded as a benchmark performance in Gramophone Magazine and both Martinu recordings were similarly recognised by the same publication in December 2000. The Bekovas are amongst the most recorded of piano trios. In May 1999, Classic CD considered them to be one of the few trios from the current generation who will achieve an enduring reputation in their review of the relative standing of twentieth century piano trios. Gramophone Magazine comments on Bekova recordings include: "Strong, enjoyable, up-front performances from the talented Bekova Sisters."(Grechaninov Trios) "The playing throughout has spirit and dedication."(Martinu Trios) "An account as moving as any and as finely played."(Tchaikovsky Trio) "Stunning"(Clarke/Ives Trios) The Bekovas have performed around the globe since reuniting in London in 1989. Their repertoire includes all the major trios from Haydn to Schnittke as well as having performed and recorded many less familiar works. They have given world premiers as dedicatees of works by David Heath, Michael Finnissy, Steven Gerber, Timur Tleukan and Sergei Zhukov. They have arranged many familiar works for performance by piano trio including Mussorgsky's Pictures at an Exhibition and Tchaikovsky's The Seasons. Their concert appearances have ranged from solo virtuoso performances through chamber work with other noted musicians such as Gidon Kremer to concerti with orchestras such as the Moscow Philharmonic and the St Petersburg Philharmonic.

Customer Reviews

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Most Helpful Customer Reviews

11 of 11 people found the following review helpful By George Knox on March 16, 2001
Format: Audio CD
It is such a pleasure to get to know another Classical music CD by Steven R. Gerber. His symphony #1 is played by the Russian Philharmonic. This is an excellent choice since the symphony seems to start just where Tchaikovsky's Pathetique leaves off. You are hanging over the precipice of the greatest plunge into sorrow a really Russian orchestra can bring about. The range of the orchestra expands and becomes more and more gripping. The build up of tension and feeling is tremendous. Later on the composer uses some of the suspended motion minimalism of Arvo Paart or Gorecki to freeze time and look again at things closely. Solo passages for woodwind or string instruments create beautiful details that enhance this impression. The second movement is a reaction against the first. It jumps away with the jaggedness of a Stravinsky dancer. But then the central portion of the movement and the conclusion are almost completely stationary, as if to say that the huge sorrowful build up of the first movement cannot just be shaken off by will-power or a wild change of mood. A sort of emotional story line like this helps me explain the biggest success of the symphony, how it really culminates in the finale. Something of the wild dance thrusts of the second movement comes back here, but now not in the rogue, solo clarinet, but differently, in the massed strings and brass that had carried the huge grief of the opening. The big gesture of the second movement is slowed down, and the opening one of the first movement is speeded up as the two combine. They combine to create an amazing event that seems to me an extended spasm in the orchestra, or better, a prolonged shudder. The symphony ends calmly with a deep germinating, Wagner-type feeling in the bass that opens out to a spacious atmosphere a little like Sibelius.Read more ›
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8 of 8 people found the following review helpful By Daniele on March 2, 2001
Format: Audio CD
On the evidence of this typically entreprising Chandos release Steven R.Gerber (Washington DC, 1948 ) is one of the most interesting new voices in symphonic music to have come my way in quite a while. In the beginning I was a bit skeptical, as the name was completely unknown, and some of the little info I could find were not exactly promising (I'm sorry, but to have been a Milton Babbitt student is not a plus, in my view). But then my penchant for musical adventures took over, confiding in Chandos' usually high artistic/technical standard and..with a little help from Chandos' art director: I know it's silly, but I found their artwork for this release highly enticing. Indeed, lately Chandos covers are uniformly marvelous. Some people may find them over-the-top, even gaudy, but I think they represent a nicely updated approach to the "colorful" 50's-60's tradition (think about RCA's Living Stereo covers) and they are a good counterbalance to the dry, cooler-than-thou look of, say, Nonesuch (beautiful at first, but you're not likely to look at them twice). One has to buy cd's for the music, of course, but a nice cover helps, doesn't it? Trying to describe somebody's music is always very hard, especially about a new composer, so I apologize in advance if I'll resort to resort to comparisons with other composers' styles. I don't want to diminish Gerber's individuality as a composer,though. Actually the more I listen to this cd the more I find this composer has a voice of his own. First of all this is not music for those who think that "dark" and "serious" are bad words: the overall impression is of music made of heavy, utterly dramatic gestures. Resorting to a chromatic parallel, I would say it's music colored in black, silver and metal blue.Read more ›
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8 of 8 people found the following review helpful By Thomas F. Bertonneau on October 1, 2000
Format: Audio CD Verified Purchase
Steven Gerber's music will remind listeners of three or four distinct influences while nevertheless being a creature on its own with a recognizable profile. It belongs, first of all, the the contemporary return to a more or less tonal orientation; it inherits a concern with dense polyphonic structures from Hindemith, Bartok, and even Schoenberg; and it keeps a tap-root in the spiritual anxiety of Shostakovich. A number of reviewers have remarked on what they call the Russian spirit of this music, played on the present recorded program by a Russian orchestra under a Russian conductor. Yet even while Gerber wanders in the same angst-ridden dimensions as, say, Shostakovich, or Schnittke, or Tishchenko (in his gloomy moods), the music has an American rather than a Russian sound. The Symphony is a good example of this. Imagine a post-modern development of William Schuman's most abyssal scores (the Eighth Symphony, say, or the middle section of In Praise of Shahn); leaven Schuman's chromaticism just a bit, and you'll have some idea of Gerber's musical vocabulary. Yet there are also moments where Reich's minimalism seems to hover in the background. Gerber composes using note-sequences made up from names, his own and those of musician-friends. The listener is not aware of the procedures as such, however, but of autonomous movements that develop basic material ingeniously and with an awareness of orchestral resources. The Symphony ends with a chorale (but not a triumphant one) in the brass, colored especially by tuba and trombones. The Viola Concerto is slightly less dark than the Symphony. The Dirge and Awakening moves from darkness, not quite into the light, but into a premonition of the dawn.Read more ›
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