Album Review: Symphony 1, Symphony 2 "Per Aspera," Concert For Orchestra by Nataliya Rozhko
Released in 2005 under the Ukrainian label Rostok Media, this album is a remarkable showcase of contemporary classical music that blends traditional Slavic motifs with modern orchestral techniques. Composed by Nataliya Rozhko and performed by the National Symphony Orchestra of Ukraine under the baton of Volodymyr Sirenko, it's an ambitious work that deserves more attention than it seems to have garnered.
The album features three major compositions: Symphony № 1 (2000-2001), Symphony № 2 "Per Aspera..." (2002-2003), and Concert For Orchestra (2001-2005). Each piece has its own distinct character but shares a common thread of storytelling through sound. The engineering by Michael Didcovsky ensures clarity without losing the raw emotional depth of the performances.
Let’s zoom in on two standout tracks that left a mark—both literally and figuratively.
First up is "III Evil Sorceresses" from the Concert For Orchestra. This movement feels like stepping into a dark fairy tale where danger lurks behind every note. The strings create an eerie tension, almost as if they’re whispering secrets you can’t quite catch. Then there’s this brass section that bursts in unexpectedly—it’s dramatic, unsettling, even kinda cinematic. You don’t just hear it; you feel it creeping under your skin. It reminds me how powerful music can be when it taps into primal emotions we often try to ignore.
Another track worth mentioning is "I Young Lady Spring" from Symphony № 1. If “Evil Sorceresses” was all shadows and sharp edges, this one is sunlight breaking through clouds. The melody here is lush and full of hope, carried beautifully by the woodwinds. There’s something about the way Rozhko layers the instruments—it’s not overly complicated, yet each line feels essential. I found myself replaying this part multiple times because it just hits differently—it’s soothing, yes, but also celebratory, like nature waking up after a long winter. And honestly? That’s what keeps drawing me back to it.
Now, let’s talk tone for a sec. While the album leans heavily into grandeur and complexity, some moments could’ve benefited from a bit more restraint. A couple transitions between movements felt slightly rushed, which disrupted the flow. But hey, no masterpiece is perfect, right?
What makes this album special isn’t just its technical brilliance or cultural roots—it’s the way it tells stories without needing words. Whether it’s conjuring mythical figures in “III Evil Sorceresses” or painting vivid images of renewal in “I Young Lady Spring,” Rozhko proves she knows how to make her audience feel.
And here’s the kicker: listening to this record made me realize how much Western audiences might be missing out on by overlooking composers from Eastern Europe. Sure, names like Tchaikovsky or Dvořák get their due, but talents like Nataliya Rozhko deserve recognition too. Maybe it’s time we start looking beyond the usual suspects?
In conclusion, Symphony 1, Symphony 2 "Per Aspera," Concert For Orchestra may not be everyone’s cup of tea—it demands attention and patience—but those willing to dive in will find rich rewards. Plus, who wouldn’t want to brag about discovering a hidden gem before everyone else catches on?
