Utwory na płycie:

• 1 Dugud. Concerto No. 1 I. Emeshe s dream Emeshes Traum.mp3
• 2 Dugud. Concerto No. 1 II. Spirits of unborn children Geister der ung.mp3
• 3 Dugud. Concerto No. 1 Iii. Visions Visionen.mp3
• 4 Sulamith. Danses sacrées I. I am black, but comely Schwarz bin ich,.mp3
• 5 Sulamith. Danses sacrées II. The round dance at Mahanaim Der Reigen.mp3
• 6 Sulamith. Danses Sacrées Iii. Love Is Strong As Death Stark Wie Der.mp3
• 7 Fatal Harmonies of Black Sweetness I. Prologo ... armonie mortali.mp3
• 8 Fatal Harmonies of Black Sweetness II. Cantilena ... la bellezza di Ma.mp3
• 9 Fatal Harmonies Of Black Sweetness Iii. Ballo Mortale I.mp3
• 10 Fatal Harmonies of Black Sweetness IV. Ricercare.mp3
• 11 Fatal Harmonies of Black Sweetness V. Ballo mortale II.mp3
• 12 Fatal Harmonies of Black Sweetness VI. Passacaglia della morte... mori.mp3
• 13 Abaddon - Angel of Abyss. Apocalyptic Scene.mp3
• 14 Lilith. Symphonic Poem.mp3

Dugud - Cello Concerto No. 1
Sulamith - Danses sacrées for cello and orchestra
Fatal Harmonies of Black Sweetness - Variations on Carlo Gesualdo’s 'Moro, lasso, al mio duolo'
Lilith - Symphonic Poem for orchestra

"Fatal Harmonies“ is the seventh of 10 CDs in WERGO’s continuing "Edition Enjott Schneider“ and contains five compositions for cello and orchestra.

The cello has fascinated audiences, players and composers ever since and did inspire Enjott Schneider to create compositions of magic and virtuoso wizardry. In the hands of a soloist with the mastery of László Fenyö, an explosion of expressive power is guaranteed.

The cello concerto “Dugud” takes up some of the legendary images about the ancient oriental bird god in archaic scenes like the dark and erotic battle of impregnation or the vision of a life of freedom.

"Sulamith" is about the Song of Solomon which is one of the Bible's most mysterious texts. “Fatal Harmonies of Black Sweetness” refers to Carlo Gesualdo (1560–1613), one of the most daring and enigmatic composers in history. The present composition takes up the dark sweetness that dominates Gesualdo’s madrigals.

László Fenyö, for whom many of the pieces were tailormade, convinces with his ability to imbue hellishly difficult passages with musicality and beauty of sound. Fortunately, the Deutsches Symphonie-Orchester Berlin (DSO) and their conductor, Ariel Zuckermann, let themselves be inspired by László’s ncompromising enthusiasm and worked together with him to create a performance of the highest quality.