Artist: Isabelle van Keulen, Oliver Triendl, Georgisches Kammerorchester Ingolstadt, Ruben Gazarian
Album: Frid: Symphony No. 3, Double Concerto & Inventions
Genre: Classical
Release Date: 2019
Audio Format:: FLAC (tracks) 24bit, 48 kHz
Duration: 01:08:34
Total Tracks: 8
Total Size: 650 MB

Tracklist:

01. Isabelle van Keulen, Oliver Triendl, Georgisches Kammerorchester Ingolstadt & Ruben Gazarian – Double Concerto for Viola, Piano & String Orchestra, Op. 73: I. Lento (09:56)
02. Isabelle van Keulen, Oliver Triendl, Georgisches Kammerorchester Ingolstadt & Ruben Gazarian – Double Concerto for Viola, Piano & String Orchestra, Op. 73: II. Allegro moderato (07:31)
03. Isabelle van Keulen, Oliver Triendl, Georgisches Kammerorchester Ingolstadt & Ruben Gazarian – Double Concerto for Viola, Piano & String Orchestra, Op. 73: III. Sostenuto (17:21)
04. Isabelle van Keulen, Oliver Triendl, Georgisches Kammerorchester Ingolstadt & Ruben Gazarian – Symphony No. 3 for Timpanis & String Orchestra, Op. 50: I. Allegro (07:18)
05. Isabelle van Keulen, Oliver Triendl, Georgisches Kammerorchester Ingolstadt & Ruben Gazarian – Symphony No. 3 for Timpanis & String Orchestra, Op. 50: II. Lento (11:35)
06. Isabelle van Keulen, Oliver Triendl, Georgisches Kammerorchester Ingolstadt & Ruben Gazarian – Symphony No. 3 for Timpanis & String Orchestra, Op. 50: III. Allegro energico (06:43)
07. Isabelle van Keulen, Oliver Triendl, Georgisches Kammerorchester Ingolstadt & Ruben Gazarian – 2 Inventions, Op. 46a: No. 1 in C-Sharp Minor (05:44)
08. Isabelle van Keulen, Oliver Triendl, Georgisches Kammerorchester Ingolstadt & Ruben Gazarian – 2 Inventions, Op. 46a: No. 2 in F Major (02:23)

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With his opera The Diary of Anne Frank (1968/69), by virtue of the subject alone Grigory Frid could be sure of attracting attention beyond the borders of Russia. The remaining enormous oeuvre by the composer, covering mainly instrumental works, songs, radio and film music, still remains to be discovered and treated in depth. Both prior to and after the collapse of the Communist USSR, Frid was awarded the highest honours, e.g. the title of Artist of Merit (1986) and the Moscow Prize (1996). If it is probably not erroneous to view Frids aesthetic position in a propinquity to Dmitri Shostakovich, on the one hand, and in the environment of his contemporaries a generation younger such as Edison Denisov, Sofia Gubaidulina and Alfred Schnittke. As in the cases of these composers, Frids music is also positioned in a field of tension between following the great Russian tradition and the quest for possibilities of expression in keeping with new, modern and international trends.