Russian Piano Music
Quantity in Basket: None SEDMARA RUTSTEIN, PIANO Russian Piano Music TROY279 - Price: $16.99
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Definitive performances of unusual Russian repertoire.

The nine sonatas for solo piano by Boris Ivanovich Tishchenko (composed between 1957 and 1992) have attracted particular praise. "In the sonata genre, it may be that Tishchenko is well on his way to composing the most important body of works in Russia since Prokofiev," wrote Maurice Hinson in his Guide to the Pianist's Repertoire. He completed his Ninth Piano Sonata in 1992. The sonata exhibits the complexity characteristic of the last years of the 20th century. Internal links between the three movements, rather than any observance of Classical sonata form, bind the three movements together. Sergei Mikhailovich Slonimsky is the nephew of the famous Russian-American composer and lexicographer, Nicolas Slonimsky (1894-1994). For the entry on his nephew Sergei in Baker's Biographical Dictionary of Musicians, Nicholas Slonimsky wrote: "(Sergei Slonimsky's) style of composition is in the tradition of Soviet modernism, evolving towards considerable complexity of texture and boldness of idiom."
Contents:
Alexander Scriabin, composer
Four Preludes, Op. 22
Sedmara Zakarian Rutstein, piano

Alexander Scriabin, composer
Two Dances, Op. 73
Sedmara Zakarian Rutstein, piano

Alexander Scriabin, composer
Sonata in F Sharp Major, Op. 30
Sedmara Zakarian Rutstein, piano

Sergei Slonimsky, composer
Passing Beauty
Sedmara Zakarian Rutstein, piano

Peter Tchaikovsky, composer
Nocturne
Sedmara Zakarian Rutstein, piano

Peter Tchaikovsky, composer
Waltz
Sedmara Zakarian Rutstein, piano

Boris Tishchenko, composer
Piano Sonata No. 9
Sedmara Zakarian Rutstein, piano

Review:
"...Enigma is a major element of Tishchenko's style, and it's a style that I continue to find totally engrossing. It's also a style that obviously speaks to both the fingers and the soul of Sedmara Zakarian Rutstein. Throughout the Ninth Sonata, which runs over 25 minutes, she maintains an absolute clarity of texture that is essential to the composer's style. She also manages to sustain the listener's interest even while the music continues to turn in on itself with frequently repeated patterns, many of them rhythmic. And when ultra-prestissimo passagework or big statements dimly reminding us of a Romantic tradition that may have existed pup up, Rutstein more than rises to the occasion, and with such bravura that it is easy to forgive some very minor slips. Albany's sound brings the piano right into your listening room." (Fanfare)
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