HYPERION SHOSTAKOVICH PIANO SONATA 2 PLUS

But it is the finale вЂ“ nearly the length of the first two movements added together вЂ“ that is by far the most interesting. The spare central Largo is the most obvious expression of ShostakovichвЂ™s reflections on NikolayevвЂ™s death. The first movement is an apparently lively movement, with a persistent march-like tread, despite the rapid semiquaver figuration. It is an avowedly memorial work, being dedicated to the memory of one of ShostakovichвЂ™s early piano teachers, Leonid Nikolayev, who had died in Tashkent in 1942, having been evacuated there from Moscow. The later sonata is quite a different animal. From there, it gradually builds up to a conclusion of almost unequalled violence and discord вЂ“ clearly a quite different take on the Revolution from the вЂSoviet RealistвЂ™ stance of the Second Symphony. It is in a single movement, but has clearly defined contrasting sections: a dramatic and stressful opening gives way to a grotesque dance-like episode, strongly reminiscent of Prokofiev. Sonata no.1, we are told in Robert Matthew-WalkersвЂ™ mostly thoughtful and informative booklet notes, was originally titled вЂOctober SymphonyвЂ™ that description was eventually given to the Symphony no.2, but that fact gives the key to the character of this powerful short work, and its subject matter вЂ“ the October Revolution of 1917. The Preludes, composed 1932-3, are appropriately framed by Piano Sonatas 1 and 2, from 1926- respectively. He has already produced acclaimed recordings of the Shostakovich concertos, and a disc of violin and piano sonatas, with Ioana Cristina Goicea, but with this recording I feel he has moved into the very top rank of todayвЂ™s pianists. HeвЂ™s just over 30 years old, but his playing has quite remarkable poise and maturity. Gugnin was the winner of the 2016 Sydney International Piano Competition, and is not only a solo pianist, but also a chamber musician. GugninвЂ™s interpretations are so vivid that there is an emotional shock in moving abruptly from one piece to the other.

HYPERION SHOSTAKOVICH PIANO SONATA 2 PLUS

To take just two examples, Preludes 14 (Adagio) and 15 (Allegretto): the first is an intense slow movement, that rises to a climax of heroic tragedy the second, following hot on its heels, is one of those wry вЂfairgroundвЂ™ waltzes youвЂ™ll find right through ShostakovichвЂ™s output вЂ“ plus a surprise ending. His characterisation of the preludes вЂ“ that no.5 is the shortest, but many are less than two minutes long вЂ“ is so compelling, revealing a performer who understands deeply the well-springs of ShostakovichвЂ™s music. He has a truly transcendental technique, no doubt, but his playing throughout this immensely challenging programme is a source of sheer delight. However, Andrey Gugnin вЂ“ the pianist in question вЂ“ is no mere note-machine. How long is it since your jaw dropped - I mean, actually dropped? Too long? OK, get hold of this CD and listen to track 6, which contains the fifth of ShostakovichвЂ™s 24 Preludes вЂ“ all 25 seconds of it! I had to check I hadnвЂ™t put on a CD of Conlon Nancarrow by mistake, so staggeringly fast and perfect was it. Nocturne from вЂThe Limpid StreamвЂ™, op.39 Support us financially by purchasing this from

Hyperion shostakovich piano sonata 2