ARC Ensemble - Laks: Chamber Works (2017)

Tracklist
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01. String Quartet No. 4: I. Allegro non troppo
02. String Quartet No. 4: II. Andante sostenuto
03. String Quartet No. 4: III. Quasi presto, con fuoco
04. Divertimento (Version for Violin, Clarinet, Bassoon & Piano): I. Allegro non troppo, quasi una marcia
05. Divertimento (Version for Violin, Clarinet, Bassoon & Piano): II. Andante-Allegretto subito-Tempo I
06. Divertimento (Version for Violin, Clarinet, Bassoon & Piano): III. Molto allegro e giocoso
07. Piano Sonatina: I. Moderato
08. Piano Sonatina: II. Scherzino. Vivace
09. Piano Sonatina: III. Lento non troppo-Molto tranquillo-Meno mosso
10. Piano Sonatina: IV. Allegro non troppo
11. Concertino: I. Allegro scherzoso-Più mosso
12. Concertino: II. Andante meditativo-Un poco meno mosso
13. Concertino: III. Presto non troppo-Meno mosso e calando-Tempo I-Prestissimo
14. Passacaille (Version for Clarinet & Piano)
15. Piano Quintet: I. Allegro quasi presto-Meno mosso, un poco rubato-Un poco meno-Tempo I-A tempo meno mosso-Tempo I
16. Piano Quintet: II. Lento sostenuto-Un poco animato e rubato-Tempo, tranquillo
17. Piano Quintet: III. Vivace non troppo-Tempo meno mosso-Da capo senza replica-Coda
18. Piano Quintet: IV. Allegro moderato ma deciso-Un poco pesante ma a tempo-Più mosso e agitato
Following the Grammy nominated Volume 2 featuring the music of Fitelberg, the Canadian ARC Ensemble presents Volume 3 in its "Music in Exile" series, dedicated to the music of Szymon Laks. Born in Warsaw in 1901, Laks studied in Paris before being deported to Auschwitz-Birkenau. He soon joined and conducted the Auschwitz orchestra (his auditioning with a 'Jewish' work - Mendelssohn's Violin Concerto - went unnoticed). Although the trauma of his imprisonment left him alienated and reclusive, few of his works refer specifically to the Holocaust. A rather subtle, colorful and sometimes contrapuntal style emerges in his writing, notably represented in the early, elegant, Ravel-influenced Sonatina fo rpiano, in the later, melodic Passacaille, and the folk dances and songs woven into the cheerful String Quartet No. 4, as well as in the breezy, seemingly effortless Divertimento. These premiere recordings are a must-have, not only because of the compositional context and the quality of the music and its interpretations, but also because the unsparing eyewitness account that Laks gave of his imprisonment has eclipsed his musical legacy, leaving his works more than unjustly neglected.