Schnittke: Choir Concerto & Minnesang

If in some of his choral music Schnittke sounds a little ‘unlike himself’, this disc reveals a less theatrical, more introspective side to his character. Perhaps it’s that the influences sit contentedly together, Rachmaninov is here, as is Poulenc at times, and the world of Pärt and Tavener isn’t too distant, yet Schnittke’s preoccupation with unusual choral textures makes the works very distinctive. The rapt Voices of Nature employs a 10-part female chorus and vibraphone, floating tightly clustered (and rather Ligeti-like) harmonies that build enticingly then drift apart. Minnesang traverses similar territory, but this time in no less than 52 parts, contrasting dense blocky chords with intricate solo writing and a range of virtuosic vocal effects. The Choir Concerto uses simpler musical language, but its impassioned setting of a tenth-century Armenian prayer works well in this program. The performances, though missing that last ounce of Russian mystique, are excellent, everything is vibrantly and intelligently sung as well as transparently recorded, making this a highly satisfying and illuminating issue.