Metropolitan HILARION ALFEYEV

DE PROFUNDIS Compositions for and

Russian National Orchestra Moscow Synodal Choir Metropolitan Hilarion Alfeyev (1966) De profundis DE PROFUNDIS example, St Matthew Passion, 2008). Yet modern cantatas are a thriving of dynamic articulation in the DE PROFUNDIS 13 De profundis (Psalmus 129/130) 5. 11 COMPOSITIONS FOR On this new album, Metropolitan realm for sacral themes. Metropolitan orchestral accompaniment. The Compositions for orchestra and choir 14 Levavi oculos meos in montes (Psalmus 120/121) 5. 26 ORCHESTRA AND CHOIR Hilarion’s works, on the one hand, Hilarion’s Stabat Mater has a four part fourth movement, “Paradiso ”, 15 Super Flumina Babylonis (Psalmus 136/137) 3. 52 offer originality in each category, and, structure. The libretto is based on a tells of the grief of a mother, “seeing Stabat Mater 16 Laudate nomen Domini (Psalmus 134/135) 4. 28 Whoever desires to listen to serious on the other hand, are characterised thirteenth century text, Stabat Mater Jesus, given up to torture”, and of the 1 Stabat Mater 5. 59 17 Alleluia (Psalmus 148-150) 5. 07 music, and whoever has not lost the by a certain stylistic communality, dolorosa, by the Franciscan Jacapone compassion that the crucified saviour 2 Virgo virginum 5. 35 capacity to distinguish the genuine an individual, authorial discourse. If de Todi. The poetics of this cycle’s and his sorrowful mother expressed 3 Sancta Mater 5. 24 from the false, will surely be very the semantic side is characterised by expression is an organic combination for all humankind. The composer 4 Paradisi gloria 5. 27 Total playing time: 74. 05 interested in this recording. complexity and depth, on the musical of the traditional and the innovative, constructs an individualist-sonorant Metropolitan Hilarion (Alfeyev) is a constructive side there is a simplicity of musical motifs from the baroque era finale, thereby referring to tonal- Concerto grosso world famous theologian and historian, and perceptive accessibility. and artistic methods of the modern harmonic “simplicity”. The polyphony 5 Adagio molto. Allegro 4. 07 Svetlana Kasyan (soprano) tracks 3, 9, 10, 11 and 12 writer and composer. His music is a era. The first movement of the cantata, of layers this is the dynamic, orchestral 6 Adagio 4. 37 Artyom Dervoed (guitar) tracks 9, 10, 11 and 12 special type of “spiritual creativity”, Stabat Mater (2008-2011), a cantata “Stabat Mater”, is associated with, on choral medium that successfully 7 Finale 2. 47 Moscow Synodal choir tracks 1, 2, 4, 13, 14, 15, 16 and 17 a semantic field that is both cerebral for soprano, choir and orchestra, is the one hand, the passacaglia, and on summarises this artistic discourse. Tatiana Porshneva (violin), Maxim Khokholkov (violin), Sergei Dubov (viola) and vivid. yet another facet of Metropolitan the other hand it has characteristics Fugue on the B-A-C-H Motif and Alexander Gotgelf (cello) tracks 5, 6 and 7 Hilarion’s musical conceptual thinking. typical of the modern art of Concerto Grosso (2012) is a work that 8 Adagio molto 6. 17 On the whole, his works can be Working in large orchestral choral minimalism. The second movement, is best defined as aesthetic expressing Moscow Synodal Choir classified into two categories: liturgical forms, the composer focuses on the “Vigra virginum”, continues in the the beauty, sublimity and wonder of Canciones de la muerte Concertmaster: Alexei Puzakov and non-liturgical. Among the poetics of a genre that, historically, has polyphonic style, albeit submerged Christian culture. The artistic form is 9 Candil 2. 05 former are choral works intended for developed and changed considerably in the context of polytonality. The the result of the interaction of three 10 Canción de la muerte pequeña 2. 12 Russian National Orchestra performance in church services (All over time. Thus, Russian cantatas third movement, “Sancta Mater”, is movements. Together they create an 11 Falseta 1. 51 Conducted by Metropolitan Hilarion Alfeyev Night Vigil, 2006; Divine Liturgy, 2006). (by Tchaikovsky, Rimsky Korsakov, distinguished by a differentiation of association with the so called concerto 12 Gasela de la muerte oscura 2. 54 Among the latter are compositions Rachmaninov, Prokofiev) were mainly timbre (use of vocal and instrumental da chiesa, in which slow and fast Organ: Norbert Gembaczka meant for concert performance (for written on non spiritual themes. solos) through commencement tempos alternate. The cyclic form, the three part “grand four notes continues to excite modern the mood of the tragic poet Federico hidden in the Old and the Old is concert”, the contrast of tempos and listeners. Here it is worth recalling the Garcia Lorca, speaking in the language unveiled in the New”. Is this not the the overall melodic rhythmic style, words of Metropolitan Hilarion himself: of chromatic tonality, polyrhythms in ideal for the design of Metropolitan creates the image of baroque music “In Bach’s music there is something combination with Spanish intonations Hilarion’s De Profundis? (Corelli, Vivaldi, as well as Handel and universal, general, all encompassing. (in the melodies), and bolstered by the J.S. Bach). On the other hand, the As the poet Joseph Brodsky wrote, timbre of a guitar. music also sounds entirely modern. ‘In all music there is Bach, in all of us Metropolitan Hilarion’s orchestral there is God.’ Bach is a phenomenon De Profundis, (2008) is a special music, as well as his orchestral choral on an all Christian scale.” The fugue, in genre, based on the psalms of David. music, not only illustrates the diversity the definition of its internal structure, The libretto for this original five part of genres in his musical creativity, but presents a monolithic musical symphony contains both each part’s also demonstrates his “authorial style” formation with an ascending drama it local form (the content and mood as a phenomenon of modern music its is a sort of “spiritual ladder”, an aural of the selected psalm), as well as a essential sacral aesthetic core. movement of woe. general architecture for the entire cycle: “ascent from the depths of despair to Fugue on the B-A-C-H Motif (2012) Songs of Death is a reconstruction, the heights of prayerful jubilation and is a work that not only is a tribute presented in the score as a four part exalted praise for God.” Each part has to a well known tradition, but also a composition: “Candil”, “Cancionen de its musical form: passacaglia, fugue, personal interpretation of a symbol. la muerte pequena”, “Falseta”, and couplet, antiphons, and ceremonial For many famous composers of the “Casela de la muerte oscura”. These finale to three psalms with a reprise past and present, including J.S. Bach songs, which differ stylistically from the coda. Yet the presence of a general himself, the BACH cryptogram has composer’s later vocal instrumental drama creates a unified, multi layered become a universal symbol, and the works, are presented in a version for composition. In St. Augustine’s famous sense of the infinite contained in these voice and orchestra. The music reflects formula, “[t]he New Testament lies © Russian National Orchestra STABAT MATER THE MOTHER STOOD 2. Virgo virginum 2. Virgin of Virgins Fac me vere tecum flere, Make me truly weep with you, fac, ut tecum lugeam. that I may grieve with you. crucifixo condolere, grieving with Him who is crucified Fac, ut ardeat cor meum Make my heart burn 1. Stabat Mater 1. The Mother Stood Virgo virginum praeclara, Virgin of virgins, resplendent, donec ego vixero. so that I may live. in amando Christum Deum with the love of Christ, the God, mihi iam non sis amara, do not now be harsh towards me, ut sibi complaceam. that I may be pleasing to Him. Stabat Mater dolorosa The Mother stood sorrowing fac me tecum plangere. let me weep with you. 4. Paradisi gloria 4. The Glory of Paradise juxta crucem lacrimosa, by the cross, weeping Iuxta Crucem tecum stare, To stand by the cross with you, dum pendebat Filius. while her Son hung there; Fac, ut portem Christi mortem, Let me carry Christ’s death, Quis est homo qui non fleret, What man would not weep Te libenter sociare to be freely joined with you passionis fac consortem the destiny of his passion, Christi matrem si videret if he saw the Mother of Christ in planctu desidero. in lamentation, I desire. Cuius animam gementem, Whose soul, lamenting, et plagas recolere. and meditate upon his wounds. in tanto supplicio? in such torment? contristatam et dolentem sorrowing and grieving, In flammatus et accensus, Fired and excited pertransivit gladius. has been pierced by the sword. Fac me plagis vulnerari, Let me suffer the wounds Quis non posset contristari Who could not be sorrowful Per Te, Virgo, sim defensus by you, O Virgin, let me be defended Cruce hac inebriari of that cross, steeped Christi Matrem contemplari to behold the pious mother in die iudicii. on the day of judgement. O quam tristis et afflicta O how sad and afflicted Ob amorem Filii. in love of your Son. dolentem cum Filio? grieving with her Son? fuit illa benedicta was that blessed Fac me cruce custodiri, Let me be shielded by the cross, Mater Unigeniti! Mother of her only-begotten Son. 3. Sancta Mater 3. Holy Mother Pro peccatis suae gentis For the sins of His people Morte Christi praemuniri protected by Christ’s death, vidit Iesum in tormentis, she saw Jesus in torment Confoveri gratia. cherished by grace. Quae moerebat et dolebat Who wept and grieved Sancta Mater, istud agas, Holy Mother, bring this to pass, et flagellis subditum. and subjected to the whip. pia Mater dum videbat and trembled to behold crucifixi fige plagas transfix the wounds of Him who is Quando corpus morietur, When my body dies, Nati poenas inclyti. the torment of her glorious child. cordi meo valide. crucified Vidit suum dulcem Natum She saw her sweet Son fac, ut animae donetur let my soul be given firmly onto my heart. moriendo desolatum, dying, forsaken, paradisi gloria. the glory of paradise. dum emisit spiritum. as He gave up the spirit. Tui Nati vulnerati, Of your wounded Son, tam dignati pro me pati, who deigns to suffer for my sake, Eia, Mater, fons amoris Ah Mother, fount of love, poenas mecum divide. let me share the pains. me sentire vim doloris let me feel the force of grief,

Librettos CANCIONES DE LA MUERTE SONGS OF DEATH 2. Canción de la muerte pequeña 2. Song of a Little Death 3. Falseta 3. Guitar Flourish Quiero dormir un rato, I want to sleep awhile, un rato, un minuto, un siglo; awhile, a minute, a century; Basadas en poemas de Federico García Based on poems by Federico Garcia Luz de ayer y mañana. Past and future light. ¡Ay, petenera gitana! Oh gypsy petenera! pero que todos sepan que no he but all must know that I have not Lorca. Lorca. Cielo mortal de hierba. Mortal sky of grass. ¡Yayay petenera! Oh petenera! muerto... died... Luz y noche de arena. Light and night of sand. Tu entierro no tuvo niñas There were no good little girls 1. Candil 1. Oil Lamp buenas. at your burial. Cúbreme por la aurora con un velo, Cover me at dawn with a veil, Me encontré con la muerte. I came face to face with death. Niñas que le dan a Cristo muerto Little girls who give locks of hair porque me arrojará puñados de because dawn will throw fistfuls of ants ¡Oh, qué grave medita Oh, how gravely the flame Prado mortal de tierra. Mortal field of land. sus guedejas. to a dead Christ. hormigas, at me, la llama del candil! of the oil lamp meditates! Una muerte pequeña. A little death. Tu entierro fue de gente Frightening people were y moja con agua dura mis zapatos and wet with hard water my shoes siniestra. at your burial. para que resbale la pinza de su alacrán. so that the pincers of the scorpion slide. Como un faquir indio Like an Indian fakir Una muerte y yo un hombre. A death and the man I am. Gente con el corazón People with their hearts mira su entraña de oro it stares at its golden navel Un hombre solo, y ella A man alone with her, en la cabeza, in their heads, Porque quiero dormir el sueño de las For I want to sleep the dream of the y se eclipsa soñando and then is eclipsed, dreaming una muerte pequeña. a little death. que te siguió llorando. who followed after you, weeping. manzanas apples, atmósferas sin viento. of windless atmospheres. ¡Ay, petenera gitana! Oh gypsy petenera! para aprender un llanto que me limpie to learn a lament that will cleanse me Prado mortal de lunas Mortal field of moons ¡Yayay petenera! Oh petenera! de tierra; to earth; Cigüeña incandescente An incandescent stork y sangre bajo tierra. and subterranean blood. porque quiero vivir con aquel niño for I want to live with that dark child pica desde su nido pecks at the plump shadows Prado de sangre vieja. Field of ancient blood. 4. Gacela de la muerte oscura 4. Gacela of the Dark Death oscuro who wanted to cut his heart on the a las sombras macizas, from inside its nest que quería cortarse el corazón en alta high seas. y se asoma temblando and, trembling, peeks Un hombre, ¿y qué? Lo dicho. A man. So what? That’s all. Quiero dormir el sueño de las manzanas I want to sleep the dream of the apples, mar. a los ojos redondos into the round eyes Un hombre solo y ella. A man alone with her. alejarme del tumulto de los to withdraw from the tumult of del gitanillo muerto. of a dead little Gypsy. Prado, amor, luz y arena. Field, love, light, and sand. cementerios. cemeteries. Quiero dormir el sueño de aquel niño I want to sleep the dream of that child que quería cortarse el corazón en alta who wanted to cut his heart on the mar. high seas. DE PROFUNDIS OUT OF THE DEPTHS 3. Super flumina Babylonis 3. By the Rivers of Babylon 4. Laudate nomen Domini 4. Praise ye the name of the Lord quae super caelum est. Praise him, ye heavens of heavens, and Psalmus 136/137 Psalm 137 Psalmus 134/135 Psalm 135 Laudate Dominum de terra dracones et ye waters that be above the heavens. 1. De profundis 1. Out of the Depths omnes abyssi. Praise the Lord from the earth, ye Psalmus 129/130 Psalm 130 Super flumina Babylonis illic sedimus et By the rivers of Babylon, there we Laudate nomen Domini laudate servi Praise ye the name of the Lord; praise Ignis, grando, nix, fumus, spiritus dragons, and all deeps: flevimus cum recordaremur Sion. sat down, yea, we wept, when we Dominum. Alleluia. him, O ye servants of the Lord. Alleluia. procellarum qui facit verbum eius. Fire, and hail; snow, and vapour; stormy De profundis clamavi ad te Domine. Out of the depths have I cried unto In salicibus in medio eius suspendimus remembered Zion. Qui statis in domo Domini in atriis Ye that stand in the house of the Lord, Montes et omnes colles, ligna fructifera wind fulfilling his word: Domine exaudi vocem meam. thee, O Lord. citharas nostras. We hanged our harps upon the willows domus Dei nostri. Alleluia. in the courts of the house of our God. et omnes cedri. Mountains, and all hills; fruitful trees, Lord, hear my voice. Quia illic rogaverunt nos qui captivos in the midst thereof. Psallite nomini eius. Alleluia. Alleluia. Bestiae et universa pecora, serpentes et and all cedars: duxerunt nos verba cantionum For there they that carried us away Ego cognovi quod magnus est Dominus Sing praises unto his name. Alleluia. volucres pinnatae. Beasts, and all cattle; creeping things, 2. Levavi oculos meos in montes 2. I Will Lift Mine Eyes Unto the Hills et qui abduxerunt nos hymnum: captive required of us a song; et Deus noster prae omnibus diis. For I know that the Lord is great, and Reges terrae et omnes populi, and flying fowl: Psalmus 120/121 Psalm 121 Cantate nobis de canticis Sion. And they that wasted us required of us Alleluia. that our Lord is above all gods. Alleluia. Iuvenes et virgines, senes cum iunioribus Kings of the earth, and all people: Quomodo cantabimus canticum a hymn: Omnia quae voluit Dominus fecit in Whatsoever the Lord pleased, that did Cantate Domino canticum novum. Both young men, and maidens; old Levavi oculos meos in montes unde I will lift up mine eyes unto the hills, Domini in terra aliena. Sing us one of the songs of Zion. caelo et in terra. Alleluia. he in heaven, and in earth. Alleluia. Laudent eum in tympano, in psalterio men, and children: veniet auxilium mihi. from whence cometh my help. Si oblitus fuero tui Hierusalem oblivioni How shall we sing the Lord’s song in a psallant ei. Sing unto the Lord a new song. Auxilium meum a Domino qui fecit My help cometh from the Lord, which detur dextera mea. strange land? 5. Alleluia 5. Alleluia Laudate Dominum in sanctis eius, Let them praise his name in the dance: caelum et terram. made heaven and earth. Adhereat lingua mea faucibus meis si If I forget thee, O Jerusalem, let my Psalmi 148-150 Psalms 148-150 laudate eum in firmamento virtutis eius. let them sing praises unto him with the Dominus custodit te ab omni malo The Lord shall preserve thee from all non meminero tui. right hand forget her cunning. Laudate eum in virtutibus eius, timbrel and harp. custodiat animam tuam Dominus. evil: he shall preserve thy soul. If I do not remember thee, let my Laudate Dominum de caelis, laudate Praise ye the Lord. Praise ye the Lord laudate eum secundum multitudinem Praise God in his sanctuary: praise him Dominus custodiat introitum tuum et The Lord shall preserve thy going out tongue cleave to the roof of my mouth. eum in excelsis. from the heavens: praise him in the magnitudinis eius. in the firmament of his power. exitum tuum in saeculum. and thy coming in from this time forth, Laudate eum omnes angeli eius, heights. Laudate eum in sono tubae, laudate Praise him for his mighty acts: and even for evermore. laudate eum omnes virtutes eius. Praise ye him, all his angels: praise ye eum in psalterio et cithara. praise him according to his excellent Laudate eum sol et luna, laudate eum him, all his hosts. Laudate eum in tympano et choro, greatness. omnes stellae et lumen. Praise ye him, sun and moon: praise laudate eum in chordis et organo. Praise him with the sound of the Laudate eum caeli caelorum et aqua him, all ye stars of light. Laudate eum in cymbalis bene : praise him with the psaltery sonantibus, laudate eum in cymbalis and harp. METROPOLITAN Conservatory. In 1987 he was it has been performed more than The Russian National Orchestra’s iubilationis. Praise him with the timbrel and dance: HILARION ALFEYEV ordained as a priest, and since 2002 seventy times in different countries by towering artistic achievement is Omnis spiritus laudet Dominum. praise him with stringed instruments he has been a bishop of the Russian the most distinguished soloists, grounded in a passionate commitment Alleluia. and organs. Metropolitan Hilarion Alfeyev is one of Orthodox Church. He has chaired and . Invariably it receives to excellence and innovation evident in Praise him upon the loud cymbals: the most widely performed of all living the Department for External Church standing ovations from audiences at all that it does. praise him upon the high sounding Russian composers. Each of his new Relations of the Moscow Patriarchate each concert. Equally well–received cymbals. compositions constitutes a milestone since 2009, when he was elevated to have been Metropolitan Hilarion’s The RNO is a frequent guest in the Let every thing that hath breath praise in contemporary musical history. the rank of Archbishop, and in 2010 subsequent works: a Christmas music capitals of Europe, Asia and the the Lord. Alleluia. His ability to imbue his music with he became a Metropolitan. He is Oratorio for two choirs and symphony Americas. The founding orchestra of profound religious content, to unite the author of more than a thousand orchestra (2007), the symphony Song Napa Valley Festival del Sole, the RNO English translation: King James Version diverse cultures and styles, to invent publications on theology, history and of Ascent and the more recently also performs at prominent venues new ways of musical expression while musicology, including thirty books completed Stabat Mater. such as the Edinburgh, Shanghai and remaining faithful to the centuries-old which have been translated into more Chopin festivals, and the BBC Proms. classical tradition, and to utter most than twenty languages. His musical RUSSIAN NATIONAL profound themes using a simple and compositions include pieces for a ORCHESTRA The RNO has made many recordings comprehensible musical language, cappella chorus, chamber works and for PENTATONE, including one of singles him out among present-day monumental oratorios for soloists, choir The Russian National Orchestra Prokofiev’sPeter and the Wolf and composers. and symphony orchestra. was founded in 1990 and today is Beintus’s Wolf Tracks. Conducted by recognized as one of the world’s Kent Nagano and narrated by Sophia Hilarion Alfeyev was born on 24 July His most widely performed work, the St top orchestras. Of its debut at the Loren and Bill Clinton, the disc received 1966. After graduating from Moscow’s Matthew Passion (2006), has received BBC Proms in London, the Evening a 2004 Grammy, making the RNO Gnessins School of Music where worldwide recognition. Following its Standard wrote, “They played with such the first Russian orchestra to win the Metropolitan Hilarion Alfeyev conducting he studied violin and composition, premiere in the Grand Hall of the captivating beauty that the audience recording industry’s highest honor. © Vladimir Orlov he enrolled at the Moscow State Moscow Conservatory in March 2007, gave an involuntary sigh of pleasure.” The RNO’s Shostakovich cycle on

Artists PENTATONE is widely acclaimed as “the THE MOSCOW SYNODAL SVETLANA KASYAN ARTYOM DERVOED TATIANA PORSHNEVA MAXIM KHOKHOLKOV Maxim Khokholkov is a winner and Vanessa May and many others. He most exciting cycle of the Shostakovich CHOIR SOPRANO GUITAR VIOLIN VIOLIN laureate of national and international has taken part in a number of music symphonies to be put down on disc, competitions. festivals, including the Festival of Soviet and easily the best recorded.” The Synodal Choir, one of the oldest Graduate of the Moscow State Artyom Dervoed is one of Russia’s most Violinist Tatiana Porshneva captivates Maxim Khokholkov was born in Music (Boston, 1988), the Festival of (SACD.net) professional choirs in Russia, was Conservatory (2011) and Member of celebrated guitarists and whose guitar audiences around the world. In 2003 Leningrad in 1980 to a family of In 2013, Maxim accepted the position of Chamber Music (Rheinland Pfaltz, founded in Moscow in 1721. The choir the Bolshoi Young Singers Academy can be heard in some of the world’s Ms. Porshneva joined the Russian musicians. He started playing violin first deputy concertmaster of the first Germany), the Tokyo Summer Festival, The orchestra maintains a full Moscow dissolved during Easter 1918, but it since 2009. She made her debut at the best concert halls. French media have National Orchestra and soon from the age of five. Maxim went on violin section of the Russian National International Gaudeamus Music Week season and has established the was revived in the spring of 2009 with Bolshoi Theatre as Kupava in Rimsky named him the “Tsar of the guitar” thereafter was appointed Assistant to graduate from the Moscow State Orchestra. (Amsterdam) and others. Sergei has annual Grand Festival, which opens help from Metropolitan Hilarion of Korsakov’s The Snow Maiden. (Universe Guitare 2005, no. 1), and Concertmaster. In this position she has Conservatory (class of Professor Eduard released many records on CD featuring the Russian capital’s cultural season Volokolamsk. The renewed Synodal established maestros have called worked with such eminent conductors Grach) and was subsequently awarded SERGEI DUBOV chamber works. each September. Unique among the Choir is based on the choir of the Highlights include her company him an “artist of the highest caliber” and soloists as Mikhail Pletnev, Mstislav a postgraduate degree. Since 1992, VIOLA principal Russian ensembles, the RNO famous church located in Bolshaya debuts as Elisabetta in Don Carlos (Norbert Kraft, Canada). Rostropovich, Gidon Kremer, Vladimir Maxim has attended masterclasses by ALEXANDER GOTGELF is a private institution funded with the Ordynka, which recorded and at the Teatro Regio di Torino, Cio Cio Jurowski, Alexander Lazarev, Michel Yehudi Menuhin, Miroslav Rusin, Shlomo Sergei Dubov was born in 1963. CELLO support of individuals, corporations and propagated Russian sacred music on San in Madama Butterfly at Teatro la Artyom was awarded the “Golden Plasson, Nikolaj Znaider and Joshua Mintz and Ida Haendel. He graduated with honours from foundations throughout the world. In gramophone records. The choir works Fenice and a concert with the Berliner Guitar” prize at the International Guitar Bell. the Moscow State Tchaikovsky Born in 1948, Alexander Gotgelf recognition of its artistry and path- with the best Russian orchestras and Symphoniker. She has performed Convention in Alessandria, Italy, for Maxim worked in the Moskovia Conservatory in 1989 and one year has won all Russian, all Soviet and breaking structure, the RNO was the participates in important international at the Latvian National Opera, the best up and coming guitarist and Since 2008 she has been an instructor chamber orchestra under the direction later began playing with the Russian international competitions, including first non-governmental orchestra to church projects. Honored Artist of Teatro Pertuzelli (Bari, Italy), Ningbo he has won 37 awards in a series of at the Moscow State Conservatory. of Eduard Grach. For several years National Orchestra. He is currently the Fifth International Tchaikovsky receive grant support from the Russian Russia, Alexey Puzakov, is artistic Concert Hall (China), Bolshoi Theatre, important international competitions. he was a soloist for the concert principal violist. Competition (Moscow, 1974). Federation. director of the choir. Tchaikovsky Concert Hall, Yekaterinburg Her desire to perform new works led department of the Moscow State State Academic Opera, Krasnoyarsk Artyom’s repertoire includes music from Tatiana to establish the RNO chamber Academic Philharmonia and in 2003 he Sergei frequently plays in a variety of Alexander has participated in numerous For more information, visit www.rno.ru State Opera, Moscow Conservatory, the Renaissance to works written for ensemble Four Strings in 2006, and joined the Russian National Orchestra. chamber ensembles, performing with solo and chamber concerts. Over the the Sion Festival in Switzerland and the him by contemporary composers. she has since been the group’s Artistic Mikhail Pletnev, Yuri Bashmet, A. Rudin, years, he has performed with Igor international Opera Festival in Hungary. Director. V. Feigin, Rustem Gabdullin, V. Popov, Oistrakh, Mikhail Pletnev, Natalia Shakhovskaya, the Borodin Quartet Acknowledgments and others.

In 2002, the British firm Cello Classics Executive producers Recording producer released a disk entitled Great Moments Oleg Poltevsky & Rick Walker Erdo Groot in Cello Playing. On the liner notes for this recording, Keith Harvey wrote Balance engineer German translation of Gotgelf: “A cellist in Olympic Erdo Groot Franz Steiger mode, here is a demonstration, pure and simple, of fantastic Russian Recording engineer Cover photo training. The co-ordination between Roger de Schot Metropolitan Hilarion Alfeyev Gotgelf’s fingers and bow is utterly © S. Titov extraordinary…” Editing Erdo Groot Design Joost de Boo Audio Recording & Postproduction Polyhymnia International B.V. Product manager Angelina Jambrekovic

This album has been recorded at the DZZ Studio 5, in Moscow, Russia in April 2014. Metropolitan Hilarion Alfeyev conducting Svetlana Kasyan, Metropolitan Hilarion Alfeyev and Alexei Puzakov The organ has been recorded separately at the St. Ludwig-Kirche, © Vladimir Orlov @ Vladimir Orlov Berlin-Wilmersdorf, Germany. Premium Sound and Outstanding Artists

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