Shalygin – Canti d’inizio e fine (Songs of Beginnings and Ends)

Maya Fridman

Original Recording Format: DXD
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Cellist Maya Fridman returns to the NativeDSD Music store with Shalygin – Canti d’inizioe fine (Songs of Beginnings and Ends), her 5th DSD album.  You will find it at the NativeDSD Music store in Stereo and Multichannel DSD 256, DSD 128, DSD 64, and DXD.

Canti d’inizio e fine – for a solo performer who can feel, play, sing, scream, moan, swear, breathe, squeal, whisper, bleat, hiss, dream…

Rend your clothes, you all, sprinkle your head with ashes,
run through the streets and dance in madness.
– Rabbi Jakub Szulman in a letter, January 1942

For over ten years, Shalygin has been occupied with a project for a lifetime: music for solo instruments, since the most concealed, intimate and deep things can only be expressed by a single instrument. One musician on the stage, who plays not just for the audience, but more for himself, akin to a person praying. In each of his solo works, Shalygin reaches an exalted state, giving the instrument a special voice.

For this kind of musical work, the composer always looks forward to meeting a true artist. Someone who with unique technical skills, possession of a wide scale of emotional palette, stoic work ethics, and most of all, someone ready to be challenged. The talent of Maya Fridman includes all of that and even more. She has a huge potential to implement these new concepts. She belongs to a class of performers who were born to pave the way for new music.

The piece consists of six songs and an epilogue, “Todesfuge” on the poem by Paul Celan. Each part represents an imaginary folder in the Holocaust victims, and is assigned to one out of six Angels of Death: Gabriel, Samael, Kapziel, Azrael, Abaddon, and Michael. The last poem combines mysteriously compelling imagery with rhythmic variations and structural patterns that are both elusive and pronounced. At the same time it has been regarded as a masterful description of horror and death in a concentration camp.


Canto Primo - Gabriel
Canto Secundo - Samael
Canto Terzo - Kapziel
Canto Quarto - Azrael
Canto Quinto - Abaddon
Canto Sesto - Michael
Epilogo - Todesfuge

Total time: 00:47:25

Additional information





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Hegel H30


Furutech NanoFlux NCF power cables, LineFlux XLR cables, and FS-a36 Speaker Cable

Digital Converters

Hapi, Merging Technologies

Editing Software

Pyramix, Merging Technologies

Mastering Engineer

Brendon Heinst

Mastering Room

Dutch & Dutch



Original Recording Format


Brendon Heinst

Recording Engineer

Brendon Heinst

Recording Software

Pyramix, Merging Technologies

Recording Type & Bit Rate



KEF Blade Two

Release DateMay 7, 2019

Press reviews

Opus Klassiek

I have to, no must be, very short about the execution because Shalygin has literally written the work on Fridman’s body and that – how could it be otherwise – she is the ideal interpreter of it, no must be. This is not only the result of the collaboration between composer and cellist that has already been mentioned, but also with the cello sound of Fridman and her way of playing in the composer’s mind. On top of that, Brendon Heinst has provided the best possible gear in his studio with all the latest gadgets for a great recording. Guaranteed, his life partner plays ‘just’ in the room with you, and of course under the approving eye and ear of Maxim Shalygin who, I must add, has delivered a sublime composition that seems to contain more layers than this special musician at all can display. Which also means that you have to give your imagination plenty of opportunity and that listening to it several times is really not enough to fully fathom this opus with its deep abysses.


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