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At first glance, the choice of composers seems like an odd match: one cultivated a harsh, expressive musical language, while the other was a proponent of introspective soundscapes. One piece ends in an explosion, while the other offers meditative contemplation. We also have an apparent clash of nationalities: Prokofiev was Russian, (b. Sontsivka, Ukraine) Silvestrov is Ukrainian, and conductor Dmitry Matvienko is Belarusian. But through art and music, we can meet in dialogue and mutual understanding.

What may first seem like madness has a clear logic. Quoting Valentin Silvestrov’s belief that “only melody makes music eternal,” Matvienko explains his choice of Quiet Music: despite very different musical languages, both composers were exceptional melodists who regarded melody as the foundation of all music. Both works are shaped by their historical realities—Prokofiev’s symphony reflects the devastation of the post-war era and foreshadows catastrophe, while Silvestrov’s Quiet Music predates but resonates with later conflicts. Against this, Quiet Music offers consolation: a place of refuge beyond nationality or religion, where sorrow can be set aside.

“I am so tired of the noise of this world.” Matvienko understands this deeply: he walks at night and listens to this music not in headphones, but inside, and it gives him peace. He wants this piece to be therapy and solace for listeners as well.

Aarhus Symphony Orchestra
Dmitry Matvienko, Conductor

Press Reviews

★★★★★ “Fabulous performances in first-rate sound. … The playing of the Aarhus orchestra here is exceptionally fine, and the recording itself wholly lives up to that standard. … An outstanding release from OUR Recordings, proving that world class music making is not limited to just a few major capital cities around the world. First class in every way.”
— William Kempster, Fanfare

★★★★★ “A revelatory coupling throws new light on the Prokofiev you thought you knew. … Matvienko finds his way through with a calibration that feels almost preternatural in a conductor still in the relatively early stages of his career. … The Largo is devastating. … Matvienko is clearly a major talent.”
— Dominic Hartley, Fanfare

★★★★★ “Wonderful performances in great sonics. … A very fine debut. … Matvienko strives for coherency and achieves it nicely. … The recorded sound is very fine. … Recommended.”
— Mark Novak, Fanfare

★★★★★ “An unusual combination of a raucous 1940’s symphony and a more contemplative 2002 string work. … Matvienko is similarly attuned to the spiky dissonances of the Prokofiev and the cool but ardent lyricism of the Silvestrov. … Enthusiastically recommended.”
— Mark Gabrish Conlan, Fanfare