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ID: RCD16360
CDs: 1
Type: CD
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Collection: Russian Piano School
Subcollection: Piano
Recording in 1989 (1-4), 1987 (5-7), 1988 (8)
Remastering: RCD, 2003
The performance of Chopin’s Scherzos by Nikolai Petrov is passionate and inspired. His brilliant pianism shows itself not only in his phenomenal technique and frantic vigor creating an unbelievable inner tension, but also in the startling differentiation of the dynamic spectrum, unrivaled knowledge of all of its grades, from a barely-heard pianissimo to a monumental fortissimo. Petrov’s interpretation, in which the pianist retaining his delicate touch and utmost self-control “goes all out”, making the listener survive all the drama of these works at the deepest emotional level, as a direct actor in the event.
The virtuoso romantic Fantasia (1830-33) of Mendelssohn is
the fusion of the Classicist and the Romanticist is excellently conveyed in the interpretation of Nikolai Petrov: harmonious balance of interpretation, amazing warmth and cordiality of the sound, and brilliant virtuosity of piano playing.
Such infrequently performed opuses as Mendelssohn’s Fantasia and Brahms’s Handel Variations take a worthy place in the vast repertoire of Nikolai Petrov. His inspired attitude towards music of Romanticist composers, sensitive and deep insight when dealing with the text, strictness, and sweep may serve as a reference for performance of Romanticist music. |
| 15.00 eur Buy |
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ID: RCD16361
CDs: 1
Type: CD
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Collection: Russian Piano School
Subcollection: Piano
Recording in 1989 (1-4), 1987 (5-12)
Remastering: RCD, 2003
The following words of the composer himself may serve as a key to performance of Chopin’ works, “After all the difficulties have been overcome and a great number of notes have been played, simplicity appears in all its charm, as the ultimate summit of art. One has to toil hard, to do an immense work to reach this goal...” Nikolai Petrov not only displays model performance of Chopin’s ballads, skillfully conveying all the richest sound palette of the great Romanticist; his interpretation strikes with emotion and philosophical depth, sincerity and genuineness of feeling, and delivery of Chopin’s deep cordiality in music that cannot bear any slight formality in performance. Petrov’s flawless pianism is as natural as breathing, and his inimitable touch, a distinctive mark of the great Russian piano school, lets you fully enjoy the subtlest nuances of Chopinian masterpieces, the charm and poetry of Chopinian sound.
Brahms’s innovation is especially noticeable in his piano miniatures distinguished by subtle fragmentation of themes and multifaceted, contrapuntally developed texture. The composer assigned an auxiliary role to technique, avoiding meaningless virtuoso concert effects, but he could manage the instrument’s expressive resources like no one else.
In his pieces of the last period of composing, Capriccio and Intermezzo, intimate facets of the composer’s mental life are disclosed. Attitudes are conveyed flexibly and with utmost terseness, and the complex content is expressed with sparing tools, and primarily with a “speaking” turn of melodies. . As performed by Nikolai Petrov, the element of exalted romantics and psychological subtleties are combined with the power and dense sound of Brahmsian texture. The pianist's interpretation shows not only depth, but also a harmonious concept: Nikolai Petrov turns the entire composition of separate independent pieces into a single whole, into a through-composed Romanticist form based on contrasts of moods and tempos and united with a coordination of tonalities considered by Brahms himself. |
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ID: RCD16362
CDs: 1
Type: CD
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Collection: Russian Piano School
Subcollection: Piano and Violin
Historical Recordings
Mikhail Fichtenholz, violin (3, 4); Elizaveta Gilels, violin (2); David Oistrakh, violin (1, 5-8); Alexander Volodin, clarinet (9,10); Sergey Yeremin, trumpet (11); Avet Gabrielian, violin (12-16); Mikhail Terian, viola (12-16); Sergey Aslamazian, cello (12-16); Joseph Gertovich, double-bass (12-16). |
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ID: RCD16363
CDs: 1
Type: CD
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Collection: Russian Piano School
Subcollection: Piano
Live Recording.
Recorded in 1949 (15, 16);
1950 (2-8; 19-24);
1952 (12, 14); 1953 (17, 18);
1951 (1, 13)
Presented on this disc are recordings of 1949-1953 made at the recitals in the Grand Hall of the Moscow Conservatory: Partita No. 1 and Prelude from Well Tempered Clavier of Bach, Sonata in C minor of Mozart, Scarlatti’s Sonata, Beethoven’s Bagatelle in E flat major, Mendelssohn’s Scherzo, and pieces by Chopin and Prokofiev.
The music of Bach had a special place in Gilels’s creativity. “He was probably the first composer that really excited me still in my early childhood,” said the pianist about Bach. However, he was most interested in his organ music (according to himself, there was a time when he was even going to study organ playing). Therefore, he included transcriptions on his programs much more often than original piano compositions. Still more interesting is the unique recording of Bach’s Partita (Gilels’s heritage contains no other recording of it).
Another author of that epoch whom the pianist willingly addressed was Scarlatti. He used to include his sonatas in the uncompleted cycle “History of Piano Sonata.”
Gilels’s addressing Mozart should be specially noted. It seemed unexpected to many critics, for Gilels was primarily apprehended as a virtuoso for a long time. The tragic Sonata in C minor is a masterpiece in Gilels’s heritage.
Generally, he often surprised critics. For instance, by his Chopin interpretations (a reviewer commented in 1972 that “accurate and disciplined Gilels went into a state of ecstatic frenzy” when performing the First Ballad of Chopin). Presented here are his recordings of Nocturne in C minor, Second Impromptu, and two etudes of Chopin.
Beethoven was of greatest importance for Gilels. For example, he performed the whole set of the Beethoven concertos; in the last years of his life, he started recording all of Beethoven’s piano sonatas and variations, but had no time to finish the work. The Bagatelle in this recording is also unique.
Mendelssohn’s music was with Gilels throughout his life, starting from the very first recital. Presented here is Scherzo from Op. 16.
Gilels played much of music contemporary to him, and Soviet music in particular. His interpretations of Prokofiev were brilliant (by the way, he was the premiere performer of the Eighth Sonata). Presented on this CD are two Prokofiev recordings, pieces from the Visions Fugitives cycle and Toccata. |
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ID: RCD16450
CDs: 1
Type: CD
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Collection: Russian Violin School
Subcollection: Piano and Violin
(1) - Recording in 1930
(2 - 5) - Recording in 1960
(6) - Live recording in 1951
(7 - 9) - Live recording in 1951
(1) - David Oistrakh, violin / Abram Dyakov, piano
(2 - 5) - David Oistrakh, violin / Svyatoslav Knushevitsky, cello / Lev Oborin, piano
(6) - David Oistrakh, violin / Vladimir Schreibman, piano
(7 - 9) - David Oistrakh, violin / Lev Oborin, piano |
| 15.00 eur Temporarily out of stock |
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ID: RCD30004
CDs: 1
Type: CD
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Collection: Instrumental
Subcollection: Piano
“Five sides of fantasy” is a CD presenting pianist Alexander Sonderegger’s point of view on the genre of musical fantasy in the context of different eras and styles. The term “fantasy” has the meaning of “improvisation” or “freedom”, which allowed the five composers included in the repertoire to express themselves through this genre, continually endowing the pieces with new significance. As an outcome, every composer referring to a fantasy is able to operate with its endless potential of creativity in his own way. It creates multiplicity within the central idea of freedom. This exact principle is what became the main motive of Alexander Sonderegger’s program, which developed into a solo CD “Five sides of fantasy”. |
| 15.00 eur Temporarily out of stock |
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ID: RCD30109
CDs: 1
Type: CD
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Collection: Instrumental
Subcollection: Piano
Notes in Czech, English, French, Deutsch |
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