Valentin Silvestrov: Requiem for Larissa

Editorial Reviews
Amazon.com
Silvestrov's Requiem for Larissa is a poignant tribute to the memory of his late wife, a bitterly-wrought mourning piece that transcends his individual grief to strike a universal chord. Its seven movements are played without pause, utilizing a large chorus and orchestra, piano, and a synthesizer. Its text is the traditional, though fragmented, Latin Requiem, along with an excerpt from a grim poem, "The Dream," by the Ukranian poet Taras Shevchenko. This last constitutes the haunting fourth movement, the sung words, a "farewell to earth," set to a slow pianissimo folklike melody that stays in the memory. The next movement, the Agnus Dei, includes extended Mozartian solos for violin, its postlude a moving depiction of unearthly peace. The final two movements are a reprised variation of what has come before, from the hieratic opening drenched in sorrow to a Tuba mirum that rages against the dying of the light. The last sounds we hear are the gentle rustlings of the wind, as Nature washes away grief. Silvestrov's sound world is unique, as is this modern masterpiece. Not to be missed. --Dan Davis

Tracks:

Largo
Adagio - Moderato - Allegro
Largo - Allegro Moderato
Largo
Andante - Moderato
Largo
Allegro Moderato

Amazon.com

Silvestrov's Requiem for Larissa is a poignant tribute to the memory of his late wife, a bitterly-wrought mourning piece that transcends his individual grief to strike a universal chord. Its seven movements are played without pause, utilizing a large chorus and orchestra, piano, and a synthesizer. Its text is the traditional, though fragmented, Latin Requiem, along with an excerpt from a grim poem, "The Dream," by the Ukranian poet Taras Shevchenko. This last constitutes the haunting fourth movement, the sung words, a "farewell to earth," set to a slow pianissimo folklike melody that stays in the memory. The next movement, the Agnus Dei, includes extended Mozartian solos for violin, its postlude a moving depiction of unearthly peace. The final two movements are a reprised variation of what has come before, from the hieratic opening drenched in sorrow to a Tuba mirum that rages against the dying of the light. The last sounds we hear are the gentle rustlings of the wind, as Nature washes away grief. Silvestrov's sound world is unique, as is this modern masterpiece. Not to be missed. --Dan Davis

Customer Reviews:

PROCESSING GRIEF.......2004-12-02

A reviewer below asks the question 'Is death like this?' and goes on to call this work a 'terrible' requiem. Respecting this person's opinion, I would gently suggest that Silvestrov had no intention of composing a 'traditional' requiem. In 1992, Silvestrov composed a piece entitled METAMUSIK, a symphony for piano and orchestra. Hans-Klaus Jungheinrich, in his notes accompanying the ECM release of METAMUSIK and POSTLUDIUM, says '...the Greek syllable META signalises the crossing of a threshold, the existence of a world beyond...a catharsis that finds peace, not through conflict, but by letting go.'

REQUIEM FOR LARISSA is one of the most astonishing -- and beautiful -- pieces of music I've ever heard. Silvestrov has given voice to the soul-wrenching feelings of grief and loss that washed over him after the sudden death of his wife Larissa -- but as we listen to this amazing work, we can also hear the composer's struggle to process these emotions, to heal, to continue with life.

The REQUIEM is indeed dark and black -- but there are many rays of light (not only in the 5th movement cited by the other reviewer). Silvestrov has metamorphosed beyond his grief -- and his work has, and continues to, metamorphose beyond the false boundaries that have been imposed on music and composition. These boundaries exist only as long as we allow them to exist. It is thanks to visionaries like Valentin Silvestrov, Giya Kancheli, Arvo Pärt, Peteris Vasks, Alfred Schnittke, Veljo Tormis and others of their generation that the boundaries which inspired them have begun to crumble.

This is a stunning, moving work -- I give it (as well as the aforementioned METAMUSIK / POSTLUDIUM and his incredibly intimate song cycle SILENT SONGS) my highest recommendation.

Is death like this?.......2004-08-09

This is just my personal opinion: a literally "terrible" Requiem. Listening to this music, I feel as if a dark black sticky cloud that I cannot shake off has enveloped me. If this was Silvestrov's intention, then this piece of work is successful. And one more thing: the 5th movement is beautiful, like a ray of sunshine that penetrates the darkness.

But can you handle this cd??????.......2004-05-26

Recently reviewed in a major newspaper receiving 4 1/2 out of 5 stars, "Requiem for Larissa" encompasses that hard to find "haunting albeit melodic" modern classical music which hints at and finds its roots in the ancient. Here you will find life, beauty and death. You will find remnants of the afterlife, darkness, hell, purgatory and then heaven. There is no doubt whatsoever that Silvestrov was moved, and deeply so, at the unexpected passing of his wife. His Requiem is just that. A fitting tribute to his lost love. You come away knowing of his sorrow, yet also knowing that the soul of Larissa now flows in a better place and time. Go pay your tributes.

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