The Russian composer Sergei Prokofiev was one of the giants of 20th century music. Reference Recordings is proud to present the Utah Symphony conducted by Thierry Fischer, in grand new performances of "Alexander Nevsky" and the "Lieutenant Kijé Suite", two of his most brilliant and dramatic musical works. The music of Lieutenant Kijé was originally written as the score to the film of the same name, released in March 1934. Prokofiev soon adapted it into the five-movement Lieutenant Kijé Suite, first performed in December 1934, and which quickly became a favorite in the international concert repertoire. Then, in 1938, Prokofiev collaborated with film director Eisenstein to create the score for the film Alexander Nevsky. He later adapted much of his score into the large-scale cantata for mezzo-soprano, orchestra and chorus featured on this recording.

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REVIEW:

The Lieutenant Kijé Suite's piquant opening movement, ‘Kijé’s Birth’, is notable for some nimble playing, especially from the Utah Symphony’s woodwinds. ‘Romance’ is nicely shaped and I liked the contributions of the tenor saxophonist. The cheeky music of ‘Kijé’s Wedding’ is nicely pointed and the tuba ‘oompahs’ add a suitably amusing touch. In the concluding ‘Kijé’s Funeral’ Prokofiev offers a kind of musical obituary by weaving in snippets from the four preceding movements. This is a very nicely done performance and I enjoyed it.

The Alexander Nevsky cantata is a vivid, theatrical score and in the right hands it certainly packs a punch. This new version from Thierry Fischer has a lot going for it, not least the vivid recorded sound.

The quality of the sound is immediately evident in ‘Russia under Mongolian Tyranny’ where the brooding atmosphere established by Fischer and his orchestra is emphasised by the wide-ranging recording. The sound has impact and genuine presence, offering a vivid aural picture of the orchestra. The Utah choirs make a strong showing in the delivery of their long phrases in ‘Song of Alexander Nevsky’. Things really get cracking in ‘The Crusade in Pskov’ where the oppressive dissonance of Prokofiev’s music is strongly projected by the orchestra, reinforced eventually by the choir. The recording has power and clarity, maximising the impact of the performance.

– MusicWeb International

The pieces on this album are world premieres, commissioned for the Utah Symphony’s 75th anniversary. The works on this album are from composers Augusta Read Thomas, Nico Muhly, and Andrew Norman. The Utah Symphony became widely recognized as a leading ensemble after its inception in 1940. The symphony is under the direction of Thierry Fischer.

Reviews:

This excellent release presents three inviting, evocative new works commissioned and recorded to celebrate the 75th anniversary of the Utah Symphony. Each piece is a unique, virtuosic essay for the ensemble, and Thierry Fischer leads his players with confidence through a daunting program, captured in stunning sound.

This is essential listening for fans of new American orchestral music. The triptych gives a fascinating cross-section of current trends, and Reference Recordings’ “Fresh!” moniker is an incredibly accurate description of the results. The notes on the pieces are by the composers themselves, and it is interesting to see how the prose and musical writing mirror each other. Full personnel listing of the wonderful Utah Symphony is included. Recorded sound is demonstration quality. Highly recommended!

– Concerto.net (Marcus Karl Maroney)

Dawn to Dust' is the apt title of this new release on the Reference Recordings Fresh! label of works commissioned from three leading American contemporary composers by the Utah Symphony as part of the orchestra's 75th anniversary celebrations during the 2015/2016 season. All three works here receive their world premier recordings in scrupulously prepared performances conducted by Thierry Fischer, the orchestra's Music Director.

As is to be expected from this audiophile label, the sound quality is awesome. The wide dynamic range of the recording allows both the subtlest string pianissimos and the loudest percussive climaxes to be reproduced with equal fidelity – every instrument clearly identified within a soundstage that possesses convincing width and depth. Though recorded live, audience noise is inaudible and applause has also been excised.

Exemplary notes on these compositions written by their respective composers complete this stimulating release.

– HRAudio.net (Graham Williams)