Works for 2 Cellos Alexander Rudin, Emin Martirosian, Academic Chamber Orchestra Musica Viva Moscow

• Bernhard Romberg (1767 – 1841): Concertino for 2 Cellos in A Major, Op. 72:
• 1 Romberg: Concertino for 2 Cellos in A Major, Op. 72 14:21
• Anton Kraft (1749 – 1820): Grand Duo for 2 Cellos in G Minor, Op. 5:
• 2 Kraft: Grand Duo for 2 Cellos in G Minor, Op. 5: I. Allegro risoluto - Andante - Moderato 09:44
• 3 Kraft: Grand Duo for 2 Cellos in G Minor, Op. 5: II. Adagio - Adagio cantabile 03:17
• 4 Kraft: Grand Duo for 2 Cellos in G Minor, Op. 5: III. Rondo. Allegro non troppo 06:26
• Duo for 2 Cellos in D Major, Op. 6:
• 5 Kraft: Duo for 2 Cellos in D Major, Op. 6: I. Allegro moderato 09:44
• 6 Kraft: Duo for 2 Cellos in D Major, Op. 6: II. Adagio sostenuto 05:27
• 7 Kraft: Duo for 2 Cellos in D Major, Op. 6: III. Rondo. Tempo comodo 07:01
• Nikolaus Kraft (1778 - 1853): Concertino for 2 Cellos in C Major:
• 8 Kraft: Concertino for 2 Cellos in C Major 14:30
• Total Runtime 01:10:30

Info zu Works for 2 Cellos

Das Aufkommen des Cellos als Soloinstrument zu Beginn des 19. Jahrhunderts ermutigte die Komponisten, sein melodisches und klangliches Potenzial zu erkunden, wobei Kompositionen für zwei oder mehr Celli immer beliebter wurden. Bernhard Romberg und Anton Kraft hatten beide persönliche Verbindungen zu Beethoven – ihre Werke zeichnen sich durch einfallsreiche Klangfarben, Intimität und große Virtuosität aus. Die Weltersteinspielung des funkelnden Concertino von Krafts Sohn Nikolaus vervollständigt ein Album mit einzigartigen, von Beethoven und Haydn beeinflussten Perlen, die dazu beitrugen, das goldene Zeitalter des Cellos einzuläuten.

Alexander Rudin, Cello
Emin Martirosian, Cello
Musica Viva Moscow Chamber Orchestra
Alexander Rudin, Leitung

Alexander Rudin
A student of Daniil Shafran, Alexander Rudin is proficient as cellist, pianist, teacher and conductor, exhibiting a universal musicianship characteristic of other great artists of the Russian school such as Rostropovich, Koussevitzky, Shostakovich and Rachmaninov. He received a traditional academic training in the Soviet system, but has become involved in researching early music and performing on the viola da gamba and other period instruments. He is also renowned for bringing forgotten or unknown works to his audiences, interspersing them with staple repertoire in his concert programming. Rudin’s chamber music activities include not only performing, but also teaching at the Moscow Conservatory and Helsinki Sibelius Academy, and giving master-classes internationally.

His discography is relatively conservative, revealing a penchant for large-scale Romantic and post-Romantic works. His solo Bach recordings of 2002 (including his own transcription of the Chaconne from Violin Partita BWV 1004) are rustic in style, favouring a senza-vibrato approach and some roughness of tone which might point to an element of historical awareness. The Suite No. 1 is delivered with logical, shapely phrasing and fleetness in the Courante and final Gigue. The Dvořák Concerto (1994) evidences modern traits of reliability and stability, although the Moscow Symphony Orchestra’s rather patchy performance holds some excitement and gravitas. Rudin’s finale is perhaps a little weak, but the first movement is passionately characterised and the second suitably wistful and nostalgic. Glazunov’s Two Pieces Op. 20 (1996) are well-characterised, the famous Sérénade Espagnole aptly juxtaposing a light, humorous opening theme with a portentous minor episode.

Rudin’s approach, whilst generally consistent in these works, does admit variety of colour and characterisation. Thus, Kabalevsky’s Cello Concerto No. 1 (1996) – written when Kabalevsky was engaged in composing material for young players – is light and delicate at times, and the effervescent finale is full of excitement. Conversely, Prokofiev’s dark and (in the finale) bleakly ironic Concertino in G minor (1995) has a denser tone with plenty of accentuation and energy. Finally, Rudin’s command of long, unfolding Romantic melodies is amply demonstrated by Strauss’s Romance No. 1 (1997).

Emin Martirosian
graduated from Moscow State Conservatory in 2011, where he studied cello with Alexey Seleznev and piano with Natalia Yurygina. He has performed across France, Germany, Switzerland, Turkey, Moldova and the Czech Republic. In 2010 Martirosian was awarded First Prize at the XV Canetti International Music Festival (Israel), and, as part of a trio, the Grand Prix at the Maria Yudina International Competition for chamber ensembles (Russia). Martirosian is currently a soloist and member of the Musica Viva Moscow Chamber Orchestra.

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