Gidon Kremer has no doubts of his genius. Some consider him the third great Soviet composer, after Prokofiev and Shostakovich. But a revival has been stirring these past few years with European and US productions of his Auschwitz survivors’ opera The Passenger and sporadic recordings of variable quality of his instrumental works, among them 27 symphonies.
Living in the shadow of his close friend and neighbour Dmitri Shostakovich, the Polish refugee was little known in his lifetime (1919-1996) outside Soviet Russia.
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