This seventh and final installment of the Anthology of the Royal Concertgebouw Orchestra covers the years 2000 to 2010, a rich period in the orchestra's history largely characterized by the changing perspectives of a new century. Indeed, it was in 2004 that Riccardo Chailly relinquished his position as chief conductor, to be replaced by the Latvian maestro Mariss Jansons, who shifted the orchestra's focus more towards Tchaikovsky, Richard Strauss and Shostakovich. A generation of orchestral players retired and were succeeded by a group of outstanding young musicians, most of them hailing from outside the Netherlands, resulting in a growing internationalization of the Royal Concertgebouw Orchestra. Also in this period, the launch of the orchestra's own in-house record label, RCO Live, breathed new life into its rich recording tradition.
Shaman rhythms is very wide concept, but one should be present necessarily in shaman music is a key to doors in the world of spirits. This album, as well as possible corresponds to this sign. However the modern person need it not very often, we are very occupied by external circumstances and we sometimes simply would like to listen to good music. Modern rhythms are as well as possible combined with shaman motives, and Angelight proves it once again in this album. Impetuous shaman dancings and sad call of voices from the world of spirits can be heard in this music. Khomus and didgeridoos against electronic substrates and club bits create that perception which in the best way approaches for a romanticizing shamanizm inhabitants of modern cities.
Vadim Repin suggests in the booklet’s notes that he and Nikolai Lugansky chose a program for their first studio recording together that mimics a recital in this case, that would be a sonata recital. This sonata the introductory passage, Lento doloroso , of Edvard Grieg’s Second Sonata displays in the duo’s performance a haunting poignancy that their energetic reading of the movement proper hardly dispels.