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At its première in June 1969 Shostakovich described his Symphony No. 14, in effect a symphonic song cycle, as ‘a fight for the liberation of humanity... a great protest against death, a reminder to live one’s life honestly, decently, nobly...’ Originally intending to write an oratorio, Shostakovich set eleven poems on the theme of mortality, and in particular early or unjust death, for two solo singers accompanied by strings and percussion. This is the penultimate release in Vasily Petrenko’s internationally acclaimed symphonic cycle.

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The longest work in Brahms’s entire oeuvre, A German Requiem was almost certainly triggered by the death of his mother, althoughit also seems likely that the tragic loss of his friend RobertSchumann, some years earlier, added to its depth and eloquence. Taking inspiration from Bach’s contrapuntal genius but avoidingovert religious tradition, Brahms chose the texts himself, placingan emphasis on an affirmation of life with the suggestion that hewould gladly have substituted ‘human’ for ‘German’ in the title.This release joins Antoni Wit’s ‘richly satisfying’ (Gramophone) recording of Brahms Choral Music [8.572694].

ALSO AVAILABLE IN BLU-RAY: BRAHMS Ein Deutsches Requiem NBD0039

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Eugen d’Albert was a titan of the keyboard and one of the greatest virtuosi of his age. A pupil of Liszt, who dubbed the young man ‘Albertus Magnus’, d’Albert was also devoted to composition. He wrote nineteen operas which reveal the breadth of his interest in wide-ranging subject matter, as well as the narrative excitement he could generate. This selection includes the overture to his first opera, Der Rubin, as well as the rare Das Seejungfräulein which reveals a Wagnerian influence. Each of the works exudes theatrical self-confidence, skilful orchestration and strong, exciting themes.

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Dvořák’s four surviving Piano Trios are cornerstones of the repertory. No. 3 was completed early in 1883, shortly after the death of the composer’s mother. Though there are inevitably moments tinged with sadness, as in the poignant third movement, there is also tender lyricism and strong nervous energy. Formed of six dumky (the dumka was in origin a Ukrainian lament), the ‘Dumky’ Trio is one of Dvořák’s most original and popular works. Offering a seemingly endless variety of mood and texture, each movement incorporates a slow and melancholy section alternating with one which is faster, dance-like and cheerful.

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Through the centuries composers have brought colour and panache to bear in their depictions of animals in music. For some, such as Sibelius, animals become the central focus in their tone poems, whilst for others a symphonic unity is sought, as Beethoven showed in his ‘Pastoral’ Symphony. Poetic imagery, through song, offers another avenue. The rich variety of the animal kingdom – from bees to birds, from fleas to fish (and much else) – offers memorable opportunities for sonic richness.