KAPUSTIN SONATA PDF

Classical and Jazz Influences in the Music of Nikolai Kapustin: Piano Sonata No. Being himself a virtuoso pianist, Kapustin has written a large repertoire for. Some people seem to click instantly with the light-hearted jazz-classical fusion of Ukrainian Nikolai Kapustin. For me, I confess, it took a little while to appreciate. Kapustin’s first attempts at composition began with a piano sonata at the age of During his studies at the Moscow Conservatory Kapustin composed and.

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Hyperion offers both CDs, and downloads in a number of formats.

Nikolai Kapustin

So do Hyperion’s gorgeous sonics. Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first. Here one feels that perhaps Kapustin has been unable to repress his evident relish, as a performer, of the sheer physical aspect of sonafa.

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In particular, the first three movements are played without a break, giving the impression of a constant stream of thought, a long-term structural approach that has numerous classical precedents including Beethoven, Liszt and Rachmaninov. In both works, the composers seem intent on creating almost a narrative structure that leads the listener inexorably towards the finale.

The site is also available in several languages. Sonata for Piano No 1, Sonata-Fantasia. April Total duration: Other recordings available for download. Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults. Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults.

The second movement begins like the first: The chromaticism of the harmonic language here draws heavily on jazz, but the absence of a clear tonality means the listener is never quite able to settle. Hyperion offers both CDs, and downloads in a number of formats. Such blatant placing of the formal weight at the end of a work is unusual but not unprecedented—Beethoven experimented with this approach in the variations that end his piano sonata Opand it is perhaps no accident that this work also begins like an improvisation, thus emphasising the weight of the last movement.

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A worthwhile jazz-classical fusion! Incidentally, this movement is usually thought to have been inspired by the pianism of Art Tatum, but this is because it is often performed too quickly. Le dernier mouvement, lui, a une trame rythmique unique: And when Latin American rhythms are thrown into the mix, it still sounds like little more than a throwback to Ginastera.

Geschrieben in der strahlenden und optimistischen Tonart E-Dur, ist sie in traditioneller Form komponiert.

May Total duration: Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin. The same can unquestionably be said of Kapustin at any point within the body of his piano works. He always insists on composing at the piano, in order to avoid coming up with figurations which would not fit kapstin hand well. Outstanding performances by Steven Osborne.

This melody was prefigured in the opening, and but for a certain rhythmic complexity it could kalustin be a Broadway show tune. Written in the bright, sanguine key of E major, it is cast in a traditional four-movement mould. Some people seem to click instantly with the light-hearted jazz-classical fusion of Ukrainian Nikolai Kapustin. Whether you want to see what we think of today’s latest releases or discover what our critics thought kqpustin your favourite recordings from the past, you will find it all in our full-searchable Reviews Database.

It is best to leave the listener to discover the many surprises contained in this exuberant work—as well as the various apparent influences—though a couple of features are worth pointing out. Don’t show me this message again. The actual tonality of A minor incidentally has been presaged by the central section of the second movement and even by the emphasis on A at the very start of the work.

Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first. Sonata No 2, Op 54 composer. The last two movements are both fast and this creates a problem of balance: Front illustration by Julie Doucet b? There is, however, nothing at all traditional about the piano writing itself, which teems with interesting and innovative twists and turns, both stylistically and pianistically.

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The all-time greats Read about the artists who changed the world of classical music. Dasselbe kann man in jedem Fall auch bei Kapustin an jeder Stelle seines Klavierwerkes sagen.

Sonata No 2, Op 54 (Kapustin) – from CDA – Hyperion Records – MP3 and Lossless downloads

Donata No 1 ‘Sonata-Fantasia’, Op 39 composer. The site is also available in several languages. Gramophone’s expert reviews easier than ever before. Don’t show me this message again. The rather short first movement functions almost as an introduction rather than the substantial movement one would normally expect.

On her Yamaha instrument she may not find quite the range of colour or mood as Steven Osborne. Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin.

Selected comparisons Kapustin Piano Music. Kapustin war hier nach eigener Aussage von der Country-Musik beeinflusst. Der zweite Satz beginnt wie der erste: The brilliant and overwhelmingly energetic first movement is curiously but very effectively rounded out by a reflective and rather lengthy coda, in great contrast to the ebullience of what came before. The performances are every bit as attractive as the music.

For me, I confess, it took a little while to appreciate that Scriabinesque harmonies and Oscar Peterson-style figuration can be tossed around so casually without sounding merely like a novelty act.

In contrast to the rather slight proportions of the first three movements, the fourth is a full-blown sonata form movement. If you are a library, university or other organisation that would be interested in an institutional subscription to Gramophone please click here for further information.