• "Eurock on the Web"
• Steve Hegede, Comments "Zoltan’s Progressive Rock Webpage", "uk70sprogrock.com"
• Stephanie Sollow, "Progressiveworld.Net", 2003
• "Progressive Newsletter" # 40, 6/2002, Germany
• Fred Trafton, "New Gibraltar Encyclopedia of Progressive Rock", 7/12/2002
• Mike Ezzo "Exposé"
• Mark Jenkins
• Unger's Wonderful World of Progressive Rock
• Giovanni Carta, "Arlequins"
• "Record International"
• Ungerprog.com
• Audion #58, UK
• Etc.

Eurock on the Web, Mikhail Chekalin: "Concerto Grosso # 1 and # 2"

In the annals of Soviet electronic music, one of the underground pioneers (unofficial artists), was Mikhail Chekalin. From 1979-1999 he produced a series of albums that are extraordinary to say the least. In 1991 he had released a 12 LP series entitled M'Ars by the Russian Melodiya label. They did not remain available for long, as pressings were small. These two CDs begin a series of reissues that will hopefully bring his music to more people's attention.

Concerto Grosso # 1 & # 2 are literally stunning works of darkly textured ambient electronic soundscapes, mixed with dynamic symphonic rock-influenced tone poems that echo old European classicism. Chekalin's fusion of earlier styles and new musical tendencies has to be heard to be appreciated. People who are tired of redundant cliches and want to discover something truly unique and special musically must give a listen.

Concerto Grosso #1 is a powerful work of darkly textured ambient electronic soundscapes, mixed with dynamic symphonic rock-influenced tone poems that echo old European classicism. Chekalin’s fusion of symphonic themes and cosmic sounds with experimental ideas has to be heard to be appreciated. One of the USSR original electronic composers these two albums are classics of the genre.

Steve Hegede "Zoltans Progressive Rock WebPage"

Collectors of avant-garde electronic music might want to keep an eye out for this composer's work. Mikhail Chekalin is now considered one of the top maverick modern composers in Russia. Influenced by the likes of Prokofiev, Stravinsky, Rachmaninoff and Eastern European folk he began to take advantage of the emerging synth|electronic technology of the late 70s - early 80s to create radical new works. Boheme Music is planning on releasing 12 LPs worth of material in the near future.

"Concerto Grosso # 1" starts off innocently enough with the 14-minute "Meditation". This track is a standart ambient composition comparable to similar works released at the time by other composers. As the CD speeds treated to sinister Stravinsky-esque horns that ride along like on a slow moving trip to hell. The syncopated horn lines are uniquely Russian. Chekalin then proceeds to throw in, or layer if you will, all sorts of elements including 80s sampling, ethnic chant, manipulated sounds, and a roomful of instruments. The slow moving cinematic-like drone, led by Zappa-esque horns, builds in intensity and Charles Ives-like density before quieting down. The best part is that the following tracks follow the same formula, more or less. Have I heard anything else like this? Never. This music could have come out of Shostakovitch or Ives, if they had lived long enough to get hold of an orchestra, a few samplers and a computer. I wouldn't recommend "Concerto Grosso # 1" to someone not into avant-garde classical and advanced electronic composition, but if you appreciate both genres, definitely check this composer out.

Compositions: 10/10; Recording quality: 10/10 .

ProgressiveWorld.net, Mikhail Chekalin "Concerto Grosso No. 1". Reviewed by: Stephanie Sollow, January 2003

Well, this is quite a long review/commentary now isn't it? Though I think what I have to say is worth reading, I do want to say right at the outset that I thoroughly enjoyed listening to this CD. It's not of the usual stuff that I rave about, and it quite a contrast to the metal I've been listening to of late, but being a woman of eclectic tastes… This is progressive in the truest sense, in that it is expanding the definition of music, pushing, prodding, and poking the envelope.

Concerto Grosso No 1 is mostly a minimalist, liquid affair from Russian composer Mikhail Chekalin, though there are times (the shorter pieces) that deviate from this to some degree. This is the first in a series of reissues of Chekalin's work from 1979 to 1999 by the Russian Boheme label. It was originally released on Melodiya Records in 1991, though the music itself dates from 1989 (though three bonus tracks date from 1990 and 1992). This release includes liner notes in both Russian and English and give a brief overview of Chekalin and his work. Those more familiar with the Russian music scene will better be able to place Chekalin in music history (and in music present) than I. All I can tell you, aside from what is printed in the booklet, is what is contained on the disc itself (by the way, though perhaps Chekalin is not covered specifically, David McConnell has written an article on Russian prog that was published in Background Magazine issue #79).

"Symphony Of Lamentations" combines the two styles or modes on this album, where it is at first very ambient in nature. Vocalizations that sound at once Native American and Arabic float across. Everything is understated, distant, perceived from afar. This is a complicated piece, but then like almost everything else on this album, there is a lot happening at once, though you may not notice it on the first listen through. Throughout a lamenting voice wails, but is very low in the mix. And then, about just a little over halfway through, sounds start to "pop" out of the mix. By the end, has become quite a wonderful cacophony sound – with jazzy elements.

The first of the longer tracks, "Mediation (Russian Mistery)," is very serious and murky. By murky I don't mean in terms of production, but in effect. Like the depths of the ocean, where sunlight barely gets through (and even deeper, doesn't at all). This piece evolves in a leisurely pace, though the harmonics and effects used create a feeling of tense drama. That "something is lurking" feeling. Shapes are sensed but not seen; movement of the water against your skin only suggests that something has passed by. But there are other points where we are nearer the surface, where visibility is clearer, though still not crystal clear. Hearing the sound of birds chirping (or what is mimicking the sound of birds chirping) brings us to this surface. But you don't really notice right away that our journey has taken us from the bottom of the ocean to the surface, because your perspective has changed slowly, fluidly. Sparse piano notes quiver in the background, while ethereal vocalizations waft in and out.

So you don't get richly symphonic compositions and memorable melodies. There is no repeated motif that you can hum along with (not really even on the whole album, though "A Pagan Vocalise" is an exception). It is more like the randomness of life that somehow seems to flow from one point to another. But not the singular strand of one life, but several, all happening concurrently. Life is tide pool that is the whole universe – a macrocosm. Chekalin accomplishes this with keyboards, synthesizers, percussion and vocals, but these are used more as means of achieving a certain tone color, a certain effect. There are so many layers, that it seems like a living organism (Of course, the artwork that appears on the cover reflects this "aquaticness," but if you hadn't seen that first, you'd be left with this same conclusion).

And just when you think you've sussed this album out, the playful "Fascination" begins. Here we get cheerful toots from the keyboard, understated martial percussion … there is both the sense of the coming parade (though not as bright and bombastic as that would imply) and, keeping with our aquatic theme, frolicking dolphins. A happy and blissfully unaware school of dolphins actually, that's what comes to mind. Piano notes are plucked and struck. Thought still retaining a minimalist feel, this is more "in the moment" than the more ethereal pieces. The music is more up front, and the sense of murkiness is gone.

"Chamber Music" made me think I was in a retirement home for senile opera singers and classical musicians… (and, the title – not the music – of Genesis' "Home By The Sea" popped into mind) They all begin in their own world – an operatic "female" voice over here (it's Chekalin), piano over there, strings over here – and yet, their worlds happen to dovetail. And if it is opera and classical in "Chamber Music," it's big band and vaudeville we hear in "To Appreciate The March." The brassy sounds of horns is played against a repeating, bulbous and elastic motif of... pogo sticks on a trampoline… um…yeh. Over this, we get more female sounding vocals. Quirky is an understatement. Different it certainly is.

"Movie Music" is aptly titled… and keeping on theme, it has the same kind of dangerous power as the theme from Jaws has, though this doesn't sound a bit like that piece. But, it has a heart-pounding percussion that intensifies as the drama is heightens…levels off when there is faux calm… then resurges as the danger returns. It's terrifyingly thrilling, exciting…

As counter balance, this is followed up by "Light Melody." A brief piece that echoes the aquatic/nature feel of the rest of the album and includes some of the same drama (dark rumbling tones that appear briefly)…

The three bonus tracks include the nearly 20-minute "Dissonata." It keeps with the other pieces on the album, and Chekalin's style (as you'll see when in our review of Concerto Gross No. 2), but it less underworldy and more otherworldly. Sonic effects still skitter and pop and slide across at (seemingly) random points, but here the tones are sharper, squeakier. It's not how I think of dissonance, though by definition it is. It also includes some gentle piano-like tones in the background, though like everything else, these only make a brief appearance. Like "Meditation," there is a sense of movement as well… of strange and wonderful alien creatures as seen from an alien safari. While some of the tones are playful, there's nothing playful about the arrangement. I mean, this is a serious expedition, though the aliens (which might just as easily be hitherto unseen earth species) may be comical in their actions (comical from a human perspective).

Seek this out. Rating: 5/5

ProgressiveWorld.net, Mikhail Chekalin "Concerto Grosso No. 2". Reviewed by: Stephanie Sollow, February 2003

The second longest piece on Mikhail Chekalin's "Concerto Grosso No. 2" is "The Sustention In Dancings." Though Chekalin's Russian, it is of Italian horror films that you must think whilst listing to this 16-plus minute piece. Well, Italian horror films and New Orleans jazz. Here Gothic voices - high and low - float across initially sparse piano that fairly soon gains strength, venturing into jazzier realms. And that only describes part of what's going on, as in this mix you'll hear both drums and percussion, the latter sounding quite like castanets. Close your eyes and think of Bela Lugosi, Hammer horror films, and the like. All this is told by mood and effect… and that doesn't even capture all of it. It is the kind of piece that headphones were made for, as a casual listening doesn't capture every nuance. But then, progressive music has never really been for casual listening.

For the most part, Grosso No. 2 can be angular and more avant-garde than its predecessor, Concerto Grosso No. 1. The first piece "New Bolero with Prolongation" is somewhat martial owing to the percussion, but also has a very austere and dark texture to it. It is, at times, also very cinematic, though eccentric. Though Italian, I think of Fellini. For every conventional sounding instrument (trumpet, for example), there is an unconventional sounding "instrument" (the ringing telephone). However, Chekalin used keys and synths to create many of these sounds, percussion and his own vocals rounding things out.

"The Interview With Russia In Respect Of West And East" also has wailing vocals, here with a Middle Eastern aspect to them. The music that sits in the background is quite minimalist and atmospheric. Like on the other longer pieces, various "instruments" seamlessly enter the mix, make their statements, then seamlessly exit. All this gives this, and the entire album a strong sense of movement, as sounds fold and undulate.

Categorized as Space Electronic Music" not very much to me reminds me of "space" (though otherworldly would apply; though space in terms of spatial, yes). However, "Delivery To Nowhere" does sound spacey in one sense of the word, in these bursts of slightly distorted percussion sound more like a "laser blaster" duel from Star Wars… though at the end, a more arty and musical – like the victor is just firing for the sound of it. Sustained keyboard notes underscore this shootout.

Added to the album on this Boheme reissue are two bonus tracks, "The Fragment Of Movie Music" – which does have a spacey feel at times, and like other pieces here (composed at the same time) it undulates and throbs and…well, breathes. The other is "The Dream To Accompaniment With Voice And Symphonic Transformation (Dissonata 2)" which does have what you might describe as space feel. Sustained synths provide the floaty, weightless atmosphere, while tinkling piano and synth washes provide the drama. The "voice" in the title might remind folks of the orgasmatic voice in Pink Floyd's "Great Gig In The Sky" – earthy and free and uninhibited. At the same time, well… I'd describe is as jazz in deep space as the image in mind's eye is of a twinkling star field. As with other tracks, this is a very generalized description, as Chekalin paints his musical landscapes, starscapes, with various textures.

For those seeking music that is constantly intriguing, that seems to push the envelope out a little bit further, then explore Concerto Grosso No 2.

For background info see my review of Grosso No.1. Rating: 4.5/5

Kristian Selm Progressive Newsletter # 40, Juni 2002. Stil: elektronische Avantgard Musik, zeitgenössische Klassic. Mikhail Chekalin - Concerto Grosso # 1 & # 2 (Boheme Music)

Endlich mal weider etwas neues vom Boheme Music, dem Label, dass sich darauf spezialisiert hat, Musik aus der ehemaligen Sowjetunion auf CD wiederzuveröffentlichen. Dieses mal werden zwei Werke des russischen Keyboarders Mikhail Chekalin vorgestellt, der zwischen 1979 und 1999 unzählige Alben aus dem Bereich der elektronischen Musik veröffentlichte. Chekalin, dessed Einflüsse sich auf die klassischen Komponisten Prokofiev, Stravinski und Rachmaninoff, wie ebenso auf die Folklore seines Landes, bzw. Orthodoxe Choräle bezeihen, nahm in den 80ern eine ganz besonde Rolle im Independent Bereich seines Heimatlandes bzgl. Moderner elektronischer Musik ein.Neben Keyboards und Synthesizer bestimmen ebenso percussive Elemente die einerseits sehr meditativen, äußerst sphärischen, geradezu minimalistischen, andererseits auch sehr experimentierfreudigen Weltenklänge der beiden "Concerto Grosso" Werke. Obwohl nur von einer Person gespielt und ohne jegliche Overdubs aufgenommen, klingen manchen Passagen fast nach einem kleinen Kammerorchester, denen Chekalin hier und da auch einige sehr eigenwillige Gesangseinlagen zusteuert. Vieles wirkt über weite Strecken eher avantgardistisch, atonal undinnerlich zerrüttet, als dass man sofort die ennere Struktur durchschaut. Zwischenzeitlich vernimmt man aber immer wieder interessante, richtig fesselnde Fragmente und Passagen, um die Kompletten Alben aber am Stück durchzuhalten, sollte man keineswegs verschreckt, demavantgardistischen aufgeschlossen sein. Ganz unbescheiden meine eigene subjektive Meinung: spätestens nach 20 Minuten musste ich eine Pause einlegen, weil es mir einfach doch zu viel wurde - wirklich sehr harter und gewöhnungsbedürftiger Stoff!Beide CDs sind zudem mit jeder Menge Bonustracks ausgestattet und das Label hat auch bereits weitere Veröffentlichungen des Künstlers angekündigt. Nur etwas für ganz, ganz offene Ohren!

Fred Trafton "New Gibraltar Encyclopedia of Progressive Rock" CE-CM Chekalin, Mikhail (Russia) Updated 7/12/02

Mikhail Chekalin is frequently compared with Klaus Schulze, and on the surfaceit's not a bad comparison. In fact, some of Chekalin's music is quite reminiscent of early Klaus Schulze. Others have compared his style to Peter Frohmader's dark synthesis. But even though Boheme Records calls their releases of "Concerto Grosso # 1" and "Concerto Grosso # 2" "Space Music", this music really lies in between Schulze or early "Tangerine Dream" and the more "Classical Electronic" realms of Morton Subotnik or the non-melodic early works of Wendy Carlos. Chekalin's "Concertos" are mostly real instruments (well, samples of them plaaayed via a keyboard) and voices, with heavy processing to distort and warp the sounds into alternate sonic dimensions. The quality of the music varies from dreamy an spacey to harsh and abasive, and wanders back and forth from vaguely musical sections to totally non-melodic sound collage. Chekalin prefers analog tape recorders and playing the compositions by hand rather than using computer technology to sequence and record. Or perhaps he doesn't have a computer... or didn't in 1989 when he recorded these.

The first word I would use to describe these compositions would have to be "intellectual", the second would be "avant-garde". "Progressive" or "Space Music" would be down the list a ways. Chekalin's discography is massive, but was mostly released in small quantities on the former Soviet Union' state label, "Melodiya", which is why you probably have never heard of him unless you're from Russia or a CIS country. Boheme Records has now acquired the master tapes for these (and other) "Melodiya" recordings and has begun a re-release of Chekalin's music beginning with the two "Concertos Grossos". Whether or not they release any more of Chekalin's recordings will, I assume, depend upon how much people are interested after hearing these two releases. Each of these CD's features the full content of the original "Melodiya" recordings of this material, plus other "bonus'material taken from other Chekalin's releases, or previously unreleased material.

Excellent stuff. Personally, one of my favorite types of music is this intellectual, not very melodic electronic style, so I think Chekalin is amazing. But I would have a hard time recommending it to any but the most "hard core' of electronic avant-garde music fans. But if you're one of those, these are an incredible long-lost gem not to be missed!

Mike Ezzo "Exposé" Mikhail Chekalin - "Concerto Grosso # 1 and # 2" (Boheme)

My expectations for the music of this Russian synthesist were admittedly bloated: his "Meditative Music for Decomposed Organ", an LP recorded live in1982, came to my attention a number of years ago, and left me duly impressed with the man's creative depth. Not since many years back had I heard such originality wedded to listenable results. What Chekalin presents on the "Concerto Grosso" howevr reflects little if any similarity with '82 album. His music bears a grittier edge than much other electronic music nowadays, partly ddue to his dedication to real time performing. And while there is certainly some multi-tracking, there is also no use of sequencers or computer editing. His disconnection to new age and other popular synth-based musics does not stop there however. Chekalin sings along with his music, in a wordless orgiastic free form. Dynamics and surprises jolt the listener at every turn. Much of the material seems as if an attempt at creating avant garde electro-acoustic or chamber music, with all its disjointed and plangent blasts of brass and percussive explosiveness. To uninitiated ears "Concerto Grosso # 1" might succeed as a kind of bizarre soundtrack to experimental animation. Some of it could fit into a slasher film scenario easily. Taken on its own, "Concerto Grosso # 1" seems to exert unnecessary emphasis on daring flash and surprises, rather than just a concern for making good music.

I'd rate "Concerto Grosso #2" higher than # 1, but perhaps only because the bonus tracks tip the balance in its favour. The CD get off to an unsatisfuing start with a bolero-inspired track that is jarring and confusing. Then he turns towards an even higher plain of weirdness when he begins to ramble formlessly, adding percussives, and more voices, to what comes across as an avant band improvisation. Credit him certainly for destroying your expectations! Subsequently he shifts the mood towards a droning gothic vibe, with aleatoric rumbling and grumbling noises that may induce the listener to want to turn the lights back on. Chekalin then works his way through more somber foreboding atmospheric spaces with a sound that features ots of droning vocalization (again wordless, just as he did on "CG # 1"), and spacey industrial splashes. The high points of "CG # 2" however are the four bonus tracks. First is a great Tangerine Dream-style piece; next he covers similar ground but adds vocals in what is a near copy of Pink Floyd 's "Great Gig in the Sky". Finally his singing integrates well withthe instrumentation! The effect is stunning and makes perfect musical sense. Then he goes microtonal for an interlude; and at last returns to his favourite mode which is experimental, dissonant, and quick to elicit impatience.

"Records International September 2002 Catalogue" Mikhail Chekalin (b.1959): "Concerto Grosso # 2"

Space-age batchelor-pad music fo the New Millennium. Using sampled and synthesized sounds, Chekalin creates soundscapes of some originality (though hardly to the ground-breaking degree suggested by the booklet notes). Agreeable and very accessible, owing something to non-classical genres (of Jean-Michel Jarre or Vangelis type), this music represents the end of the electronic-music spectrum that will appeal to the widest audience (and, one suspects, was written with exactly this aim in mind). Leaving aside all pretensions, an unquestionably enjoyable disc, not without humour (when everyday sounds and sci-fi sound effects find their way into the mix).

Mark Jenkins, "E-Mix" Mikhail Chekalin "Concerto Grosso # 2" (Boheme)

Boheme is a Russian label specialising in rescuing LP releases of symphonic, progressive and electronic music and re-issuing them on CD with bonus tracks. This one's labelled "Space electronic Music", which couldn't be further from the truth; the main compositions, running over 45 minutes, are orchestral, symphonic and modern classical in style, with much use of piano, classical and folk voices, quirky percussion instruments, a lot of echo and effects, and some electronic and musique concrete textures.

This all dates from 1989, while the bonus pieces comprise a contemporary fragment of film music using analog synthesizer and water sounds, plus from 1990 the 28-minute "Dream to Accompaniment with Voice and Symphonic Transformation", a rather serious piece combining elements of Karlheinz Stockhausen, Arvo Part, the soundtrack for "2001" and modern classical piano music.

Overall this is a challenging and quite demanding release, with much of it sounding like a Klaus Schulze album in his classical operatic mode, though coming from a very, very different direction.

Dominique Genin, "Prog-résiste" No. 30. Michael Chekalin "Concerto Grosso 1 & 2" (Boheme). Style: ambiant / industriel / avant-garde

Qui connait la musique electronique russe? Qui connait la musique electronique russe d'avant garde? Qui connait la musique electronique russe d'avant-garde sous le regime communiste pur et dur d'avant la perestroika?... Il est vrai que la musique de Chekalin est novatrice, encore plus certainement si elle a ete compose il y a une quinzaine d'annees. Le livret accompagnant ces disques nous decrit Chekalin comme etant "un sorcier sonore qui fait appel a l'esprit de l'heritage russe et l'impregne d'une emotion cosmique". En fait, a mon humble avis, sa musique s'apparente plus a Stockhausen qu'aux grands compositeurs russes. Createur de sonorite, de timbre, d'effets sonores, de bruitages, il l'est certainement. Il y a vraiment de tout dans sa musique, sauf peut-être des bruits de bottes pourtant tres mode aujourd'hui. Mais quant a l'heritage russe, il faut remettre les pendules a leur place, je l'ai cherche et je ne l'ai pas trouve, ou alors si peu dans le "Concerto Grosso 2". J'adore les compositurs russes de Moussorgski et Borodine a Stravinski et Artemiev en passant par les progueux de "Horizont", mais ici je ne me sens vole sur la marchandise...

"Concerto Grosso 1" est une composition dediée a la meditation qui fait la part belle a l'improvisation. La première piece, c'est la trance profonde. Melange de longs sons, bruitages, bruits colores, des semblants de rythmes, souvent industriels, apparaissent puis disparaissent aussitôt, une certaine evolution dont on ne connait pas les regles est presente, les moments de calme succedent aux tensions, mais aucune structure fonctionnelle n'est presente. Le second morceau, "Fascination" est plus academique et plus colore par les timbres des anches. Il se fond dans la composition suivante, qui contrairement a son titre, n'a rien a voir avec de la musique de chambre, et qui est dominée par les vocalises d'une soprano. Ces vocalises nous emmenent ensuite dans une marche au rythme tranchant ou les cuivres se font de "Gershwiniens". Les compositions suivantes sont encore plus d'avant-garde, musiques concretes sur fond de vocalises arabisantes, trop longues compositions sans vraie structure, ni objectif. Ce CD est pourvu de trois bonus dans la meme veine.

"Concerto Grosso 2", autre album reedite par Boheme music, est plus abouti, mieux construit et relativement plus facile d'acces. La première composition porte bien son nom. "New Bolero with Prolongation", debute sur un rythme proché du bolero puis est prolongée par une section plus industrielle qui, après un climax evolue vers une finale plus calme mais non moins sombre. "Suspension in Dancings" et "The Interview with Russia in Respect of West and East" sont deux (trop) longues pieces de plus de 15 minutes qui, comme dans le premier concerto, evoluent suivant un schema qui n'a rien de fonctionnel; pieces qui se terminent apres quinze minutes alors que tout semble avoir ete dit apres cinq. Cependant, et contrairement au "Concerto Grosso 1", l'instrumentation et la palette sonore sont plus riches. Le piano acoustique, generalement atonal, donne a la première de ces pieces une coleur particuliere. "Interlude" est domine par des vocalises en tous genres, qui selon moi, on tres peu a voir avec la musique russe. Le concerto se termine par une piece, sombre et angoissante, "Delivery to Nowhere" qui comme son titre l'indique, ne nous mene nulle part. Comme le precedent, ce CD possede quelques bonus tracks, qui ici, se rapprochent plus des productions electroniques allemandes.

En conclusion, deux albums trop ardus, deux concertos mal construits, quoique le second soit meilleur selon moi.

Unger's Wonderful World of Progressive Rock. Michael Chekalin "Concerto Grosso 1 & 2" (Boheme).

I have always been a fan of "Space Electronic Music" and Mikhail Chekalin has my ears on this 2 CD release. His compositions each run over 45 minutes in length and take your mind of a wild excursion around the universe. His songs are strongly orchestral in nature with symphonic and modern classical styles tossed in. Chekalin uses a wild mix of inputs to create his sounds including a good chunk of piano, classical and folk voices, quirky percussion instruments, a lot of echo and effects, and electronic synths. Overall sound is very different from the 70’s Schulze era and with a real classic orchestral feel. CD includes some wild bonus pieces comprise a contemporary fragment of film music using analog synthesizer and water sounds, plus from 1990 the 28-minute "Dream To Accompaniment with Voice and Symphonic Transformation". Overall this is a very unique and yet challenging release with its roots somewhere in the Klaus Schulze school of electronic mastery.

Mikhail Chekalin. The Albums Concerto Grosso # 1, Concerto Grosso # 2.

This album, "Concerto Grosso # 1", is a dark piece of work. Not only does it paint a desolate landscape but it also encumbers itself with desolate ideas, music devoid of body, structure, beauty and any form of emotion or semblance of normality other than its nightmarish soundscape populated by aliens and pagan chants, shouts and random notes. It must be a Herculean task to recreate and play this music live twice the same way. The album’s opening 14 min number has occasional synths flying around eerie dolphin sounding noises and tuneless piano as the backdrop of shimmering synths paint a picture of utter chaos and terror. This album never wavers far from its tuneless path right through to the end, 72 min later. After saying that, this album closes with what could be the nearest resemblance to recognised music patterns, the 3 min 53 sec "Another Music for Piano - 1".

Mikhail Chekalin “has startled many with his bizarre sonic creations... with his new genre-dimensions".

This is easy to see why:

"Chekalin is a sonic sorcerer who summons forth the spirits of his Russian heritage and impregnates them with cosmic emotion. Classical influences of Prokofiev, Stravinsky and Rachmaninov, as well as folk melodies and eastern orthodox choral passages, give this music an appealing aura of epic drama without slipping into pretension".

Well, I guess we have the full story now other than to say his discography contains more than 25 albums and if they are all as heavy going as these two then it may be hard work listening to them. But if your preference is for this type of minimal structureless stuff then obviously this should be in your record collection.

As for the album "Concerto Grosso # 2", it opens promisingly with the magnificent "New Bolero with Prolongation" then slips effortlessly back into the same format and landscape of the previous album for track 2, "The Suspension in Dancings", with chants, wailing banshees, tuneless piano and barking dogs (unless the dogs were outside my window). I have to say though, the piano along with the synths did redeem themselves as this track developed. Thereafter it was business as usual other than for a very slight improvement of track 6, "The Fragment of Movie Music". This second album is better of the two by a whisker.

Giovanni Carta, "Arlequins". Mikhail Chekalin - Concerto Grosso n°1, Concerto Grosso n°2, Melodiya 1989 (Boheme Music 2000)

Mikhail Chekalin è da considerarsi come un vero e proprio oggetto di culto nell'ambiente della musica d'avanguardia ed elettronica dell' ex URSS ed attraverso una lunga e prolifica carriera musicale, composta all'incirca da più di venticinque album, si è imposto come una delle figure più interessanti ed essenziali del panorama indipendente dell'Europa orientale. In qualche modo è stato paragonato ad artisti come Klaus Schultze ed altri musicisti dell'ondata elettronica degli anni settanta eppure Chekalin, almeno stando al contenuto di queste due ristampe (che includono pure una serie di bonus-track di pregevole fattura) pubblicate su due cd separati ma complementari per ovvi motivi artistici, rappresenta uno stile personale che si allontana da certe soluzioni stilistiche tipicamente cosmiche a favore di una musica difficilmente inquadrabile, probabilmente ispirata tanto da musicisti classici come Stravinsky e Rachmaninoff quanto dalle esplorazioni avanguardistiche zappiane e dalle folli improvvisazioni di mrca R.I.O. I titoli di queste due ristampe naturalmente non devono trarre in inganno l'appassionato del classico rock progressivo sinfonico visto che la musica di Chekalin ha ben poco a che fare con le opere omnie dei New Trolls, anzi, direi che siamo di fronte ad una concezione della musica ben lontana dalle armoniose e melodiche composizioni tanto care al progster medio ed a dire la verità un qualsiasi elemento rock è pressoché assente in questi due dischi: Chekalin è il diretto responsabile delle musiche e si divide fra una moltitudine di tastiere e sintetizzatori in un susseguirsi di motivi sonori dai tratti spesso inquietanti e dissonanti, mai prevedibili, e cosa molto importante sempre piuttosto godibili ed affascinanti sul piano dell'ascolto. Forse l'unica presenza di disturbo in queste composizioni è la voce dello stesso Mikhail, impostata secondo diverse improvvisazioni che divagano da una forma quasi parodistica di jazz fino al canto sacro e religioso, indubbiamente interessante a a tratti forse un tantino pretenziosa. Certo, per accostarsi ad un modello di musica inquadrabile nel controverso panorama delle composizioni sperimentali e d'avanguardia bisogna sempre essere ben predisposti ad un ascolto generalmente più impegnativo della media... eppure questi due concerti grossi contengono diversi elementi che sicuramente sapranno attirare perlomeno l'attenzione e l'ammirazione del prog-fan più avveduto.

Uzbekistan Progressive Rock Pages "ProgressoR" Detailed Review: Chekalin, Michael (Russia) - 1989/2001 - "Concerto Grosso # 1" (Boheme Music)

Prologue. As I became a Prog-lover immediately after I've heard for the first time the albums of the genre (the first three were "Jesus Christ Superstar" by A.L.Webber, 1970. "Pictures at an Exhibition" by ELP, 1971 and "Nightingales and Bombers" by Manfred Mann's Earthband, 1975 - the first and the last remain criminally underrated works), I naturally ignored all those spacey men Jarre, Schulze, etc, and even Tangerine Dream itself, having found such music too simple already after a couple of listens. Thus, I have never heard of "the best Russian electronic music composer Michael Chekalin", as noted in the booklet of this CD, until now. Surprisingly, his music (at least on this album) turned out to be different in many ways from what I had expected to hear, though, in my view this album also has some drawbacks. Also, according to the unknown author of the pseudo philosophic article on Chekalin, using samplers in his music and other electronic projects, and (just synthetic!) electronic music in general, this, unlike orchestras playing Classical Music, etc, is the only real elitist music. I appreciate any kind of music that is at least a little creative, but I will never agree with anyone's categoreical opinions that reject everything except their passion, but especially with such maniacal "axioms" that I've read in the introductory article on Chekahlin and an electronically push-button music in the booklet of this CD.

The Album. I have found a lot of positivism in the music of "Concerto Grosso # 1", but allwo me to continue the talk on the negative sides of the album since I already began to criticize the introductory article aboout it (that too, in particular) in Prologue. First of all, here is an opening track, which has two titles "Meditation / Russian Mystery" though the musical content fully corresponds only with the first one ("Meditation" is really just a kind of spacey music for meditations), while it has nothing to do with what Chekalin has in mind concerning the sub-title. The Russian mystery is by no means as meditatively simple a thing as the music of the first track. I could now quote a lot of great Russian writers, poets, composers, painters and actors, but their concepts abour a Russian mystery are, on the whole, too similar among themselves. As for the music, Russian mystery or more precisely the mystery of the Russian soul has been distinctly expressed by the majority of serious Russian composers in most of their works. This way, most of the Russian composers of Classical Music are in the first row of the exponents of the mystery of the Russian soul. To begin with Mussorgsky and Tchaykovsky, through Stravinsky and Rakhmaninov, Sviridov and Schitke, and to conclude with artemiev and even Prog-Rock band "Horizont", apart from others, all considered (and expressed in music) the Russian soul as deep, profound and, at the same time, dark and inexplicable after all. But "Meditation / Russian Mystery" is not only one of the weakest pieces on the album, there also is someone's (I guess, Chekahlin's own) quite a powerful male vocal, which most of all reminds me of plaintive howls of Moslem's prayers, going all over the musical events of the piece. While compositionally "Symphony of Lamentations" sounds similar to most pieces of the album, and "A Pagan Vocalize", being just the opposite, is instrumentally almost empty, both of them from beginning to end are filled with the same plaintive, by no means pagan, but typical Mohameddan prayer-alike vocals with distinct Eastern characters (I hear real words, though they must be in another Kobajan dialect). Back to "Meditation", which is at the same time "Russian Mystery", I just cannot understand where that Russian Michael found a link between Russian Mystery and Moslem's or even (okay) pagan's prayer (that however sounds exactly like a Moslem's prayer)? There is a strange, to put it mildly, conception of Russian Mystery on the mind of that very special lover to sing, apart from his magical, really pagan-like manipulations with synthesizers, buttons, samplers, sequencers and all the other black and white keyboards. A meditative atmospheric, boring opening track is followed by the album's only (and best) instrumental "Fascination" that sounds like real Classical Music (of an academic school, that does without such exotic schools of composing as an extremely complex 12-tone row of modern European school or the old 5-note scale of the Eastern classic one), performed with the use of the most enriched sounds of digital keyboards. Track 3, called for some reason "Chamber Music", actually has nothing to do with that. This, another very good,on the whole, composition sounds as contemporary Classical Music too, yet only in the first half of it, whereas the second part is obviously influenced by avant-garde classical music. Misically, all the six remaining pieces (i.e. including "Symphony of Lamentations" and excluding "A Pagan Vocalize") stand for a wild blend of contemporary Avant-garde Classical Music, true avant-garde, and a few more various musical forms (spacey, noisy, industrial, etc). A too mixed blend of several musical genes and styles just mentioned, looks very original (though I'heard too little of electronic music to insist on the latter definition), and personlly I find all compositions created in that mixed stylistics really interesting. There are also lots of original psychedelic moments (which are much better with regard to Progressive than meditative landscapes) as if hidden in these pieces for the time being - until some very unexpected (no - truly sudden!) outbursts of supernovas or industrially post-apocalyptic episodes will amaze and strike you like some sinister mirages. This way, I wouldn't recommend those with nervous exhaustion, etc, to listen to this album with headphones for avoidance of affectation.

Summary. It is very likely that some lovers of experimental electronic music won't share my personal claims to said vocalizes and vocals, but anyway, two of the three compositions ("Meditation / Russian Mystery" and "A Pagan Vocalize") where that really monotonous plaintive voice goes all over instrumental palettes of the track throughout, are much weaker than all others (especially "A Pagan Vocalize", which is almost empty with regard to instrumental music), that, apart from the only composition-masterpiece on the album ("Fascination", track 2), are very good pieces, at least. Adventurous heads of all kinds of Progressive electronic music (I doubt that fans of traditional ambient / new-age will be attracted by the music on this album) may find (at least for the most part of) "Concerto Grosso # 1" an intriguing, unusual and very interesting album.

"My All Time Favorite Prog Rock Recordings http://www.ungerprog.com/yetanother33.html ( CHAPTER 38 ) I have always been a fan of "Space Electronic Music" and Mikhail Chekalin has my ears on this 2 CD release. His compositions each run over 45 minutes in length and take your mind of a wild excursion around the universe. His songs are strongly orchestral in nature with symphonic and modern classical styles tossed in. Chekalin uses a wild mix of inputs to create his sounds including a good chunk of piano, classical and folk voices, quirky percussion instruments, a lot of echo and effects, and electronic synths. Overall sound is very different from the 70’s Schulze era and with a real classic orchestral feel. CD includes some wild bonus pieces comprise a contemporary fragment of film music using analog synthesizer and water sounds, plus from 1990 the 28-minute "Dream To Accompaniment with Voice and Symphonic Transformation". Overall this is a very unique and yet challenging release with its roots somewhere in the Klaus Schulze school of electronic mastery.

All these other Mars series releases are quite extraordinary really, with a special accolade going to the weirdest of the lot CONCERTO GROSSO 1 & 2.  The first Soviet CD release RUSSIAN MYSTERY was pretty much a compilation of choice album tracks.

Alan Freeman