Cappella Amsterdam, Noord Nederlands Orkest, Daniel Ruess - Igor Stravinsky: Late Works (2026) [Hi-Res]

Tracklist

01. Chorale
02. In Memoriam Dylan Thomas: I. Dirge-Canons (Prelude)
03. In Memoriam Dylan Thomas: II. Do not go gentle into that good night
04. In Memoriam Dylan Thomas: III. Dirge-Canons (Postlude)
05. Otche Nash
06. Threni: Incipit
07. Threni: De Elegia Prima
08. Threni: De Elegia Tertia: I. Querimonia
09. Threni: De Elegia Tertia: II. Sensus spei
10. Threni: De Elegia Tertia: III. Solacium
11. Threni: De Elegia Quinta: Oratio Jeremiæ Prophetæ
12. Double Canon
13. Anthem
14. Elegy for J.F.K.
15. Epitaphium
16. Introitus
17. Requiem Canticles: I. Prelude
18. Requiem Canticles: II. Exaudi
19. Requiem Canticles: III. Dies irae
20. Requiem Canticles: IV. Tuba mirum
21. Requiem Canticles: V. Interlude
22. Requiem Canticles: VI. Rex tremendae
23. Requiem Canticles: VII. Lacrimosa
24. Requiem Canticles: VIII. Libera me
25. Requiem Canticles: IX. Postlude
26. Two Sacred Songs (Hugo Wolf): No. 1, Herr, was trägt der Boden hier
27. Two Sacred Songs (Hugo Wolf): No. 2, Wunden trägst du mein Geliebter

Cappella Amsterdam, led by its renowned chief conductor Daniel Reuss, joins the Noord Nederlands Orkest to present a powerful recording of Igor Stravinsky’s late works. Tracing the composer’s evolution through his embrace of the twelve-tone technique, the ensemble brings these rigorously structured and spiritually charged masterpieces to life with clarity and devotion.

Statement from Christophe Guyard (Artistic Director of the Igor Stravinsky Foundation) & Marie Stravinsky (President of the Igor Stravinsky Foundation) – excerpted from the booklet:

“This recording finally sheds light on a still too little known aspect of Igor Stravinsky’s oeuvre: that of his late creative years, marked by a serial writing of profound inwardness. Under the inspired direction of Daniel Reuss, Cappella Amsterdam and the Noord Nederlands Orkest give voice to these mature works – In Memoriam Dylan Thomas (1954), Threni (1958), Introitus (1965) and Requiem Canticles (1966) – which together form a spiritual cycle marking the composer’s final period.

One often speaks of Stravinsky’s rupture with the neoclassical era, yet we perceive rather an inner metamorphosis during the last years of his life. Stravinsky’s adoption of the twelve-tone language, much commented upon at the time, was not an aesthetic conversion but a quest for order and clarity, in keeping with the beauty of the gesture which can be traced across his manuscripts.

For Stravinsky, serial rules were a discipline comparable to the ancient canons – a means of giving form to asceticism. He liked to say that, “The more art is controlled, limited, worked over, the more it is free” (Poetics of Music), and that “Improvisation is the expression of indiscipline.” (Memories and Commentaries). His writing, of uncompromising graphic precision, thus bears witness to a will toward perfection, almost calligraphic in its purity.

Through this demanding and lucid interpretation, PENTATONE, Daniel Reuss and his musicians offer a rare testimony: that of a creator who, to the very end of his life, sought in music not rupture, but reconciliation with himself.”

DOWNLOAD ALBUM [flac]

DOWNLOAD ALBUM [Hi-Res]