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Jens F. Laurson
Ionarts, August 2013

The expansive orchestral Partita channels Bach through Schwarz-Schilling’s post-romantic vernacular; for the implacable Violin Concerto the tone darkens to a more rigorous beauty. The indefatigable José Serebrier leads a sumptuous sounding Staatskapelle Weimar; soloist Kirill Troussov persuades with determination of his and Schwarz-Schilling’s qualities. © 2013 Ionarts Read complete review

Mark L Lehman
American Record Guide, September 2012

Schwarz-Schilling…was a highly gifted and skillful composer who…wrote superbly crafted and imaginative music, deeply individual in its own way, but not the least au courant.

So it’s good to see that Naxos has continued its releases devoted to him. It’s a great pleasure to hear this wonderful music—most of it known to me for many years from earlier—and often inferior—LPs and CDs, here at last beautifully played and vividly recorded.

Partita is a half-hour, four-movement assemblage that, as its title suggests, pays homage to 18th Century forms and procedures. As such it sometimes suggests Stravinsky’s re-creations of earlier music, as in the opening, a neo-Bachian ‘Entrata’, though Schwarz-Schilling’s temperament is (as you’d expect) more German and more romantic than Stravinsky’s. Stately it is, yes, but also passionate—in the composer’s always decorous, never hysterical way.

From 1936, the Polonaise is a 6-minute dance on two catchy tunes, one fleet and lithe, the other melodious and lilting.

The three-movement Violin Concerto presents elements apparent in the earlier music with the same readily identifiable personality but more subtlety and depth of emotion. The central aria is especially songful and tender, and the final allegro dazzling in its marriage of intricacy and high-spirited virtuosity. © 2012 American Record Guide Read complete review on American Record Guide online

Robert Benson, July 2012

It begins with two light works, a Polonaise composed for the 1936 Pyrmont Music Festival, and a five-movement Partita contrasting lively dances with serene interludes. Schwarz-Schilling is at his best in the remarkable violin concerto…This is a concerto that deserves to be heard, and it receives a spectacular performance by the young violinist Kirill Troussov, whose impeccable technique and beauty of tone do much for this score. The orchestra and conductor are obviously dedicated to this music, and the recording, made in Germany May 27-29, has outstanding sonics. Investigate this—the violin concerto is special. © 2012 Read complete review

Chris Hathaway
Classical 91.7 KUHA, June 2012

Schwarz-Schilling is…distinctively individualistic and worked largely in what might be called traditional molds. The Polonaise…has an immediate allure and has the same use of the orchestra predicated on a contrapuntal mentality…The Partita evokes the spirit of J.S. Bach in a highly personal way. This is the kind of music in which there is activity in every bar…

The Violin Concerto of 1953 is not easy for the soloist, conductor or the orchestra. The St. Petersburg-born violinist Kirill Troussov is a formidable exponent of this work, receiving sympathetic collaboration from Serebrier…and the Weimar musicians.

This is music is at once marked by skill, ingenuity and intense spirituality. Highly recommended. © 2012 Classical 91.7 KUHA Read complete review

David Denton
David's Review Corner, May 2012

Reinhard Schwarz-Schilling remained an anonymous figure during the rise and fall of the Nazi era, fearing his wife’s Jewish origins would be revealed. He had studied as an organist, conductor and composer, his mentor, Heinrich Kaminski, instilling into the young man that tonality was not dead. It was to bring about a rejection of serialism and twelve-tone ideology, and in so doing alienated himself from all that was fashionable. The result was a totally personal style, both thematically and harmonically, and impossible to liken with any other composer of his generation. The present disc shows him on both sides of the Second World War, his four movement Partita—his first major symphonic score—being as extended as many symphonies of the Romantic era. Its structure is also similar in having a slow movement and scherzo surrounded by dramatic Allegros. The Violin Concerto, which dates from 1953, is unusual among 20th century concertos in having a long and weighty orchestral section before the soloist enters. It is not an overtly virtuoso score, but does present many challenges to soloist and orchestra, the central aria a piece of lyric beauty before it takes us straight into a highly active finale, the orchestral role being the core around which the violin dances. The St. Petersburg-born soloist, Kirill Troussov, has won three of the world’s most prestigious competitions, and his magnificent technique serves the music well. José Serebrier has already proved an advocate of the composer, and he again has the advantage of the superb Staatskapelle Weimar. They are among the European premiere league orchestras, with performances of that quality that usually designates familiarity. They are rewarded with outstanding sound quality. © 2012 David’s Review Corner

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