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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Skip to main content. Written in the bright, sanguine key of E major, it is cast in a traditional four-movement mould. Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults. 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.
This melody was prefigured in the opening, and but for a certain rhythmic complexity it could almost be a Broadway show tune. Sonata No 1 ‘Sonata-Fantasia’, Op 39 composer. 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.
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. Don’t show me this message again. Sonata for Piano No 1, Sonata-Fantasia. The rather short first movement functions almost as an introduction rather than the substantial movement one would normally expect.
Selected comparisons Kapustin Piano Music. 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. The second sonafa begins like the first: There is a central section with more than a hint of rock music to it, before a return to the initial mood. The all-time greats Read about the artists who changed the world of classical music.
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.
KAPUSTIN Piano Sonatas Nos 1 & 7 |
Geschrieben in der strahlenden und optimistischen Tonart E-Dur, ist sie in traditioneller Form komponiert. If you are a library, university or other organisation that would be eonata in an institutional subscription to Gramophone please click here for further information.
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. Gramophone’s expert reviews easier than ever before. The site is also available in several languages. He always insists on composing at the piano, in order to avoid coming up with figurations which would not fit the hand well. The chromaticism of the harmonic language here draws heavily on jazz, but the absence of a clear tonality means the kapsutin is never quite able to settle.
May Total duration: Other recordings available for download.
Der zweite Satz beginnt wie der erste: Indeed, my personal feeling is that, on a purely pianistic level, Kapustin and Medtner tower above any other piano composer in history, as far as pure comfort at the keyboard is concerned.
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.
A worthwhile jazz-classical fusion! April Total duration: Here one feels that perhaps Kapustin has been unable to repress his evident relish, as a performer, of the sheer physical aspect of playing. The last two movements are both fast and this creates a problem of balance: Some people seem to click instantly with the light-hearted jazz-classical fusion of Ukrainian Nikolai Kapustin.
Sonata for Piano No 7. 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 kapusttin 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.
So do Hyperion’s gorgeous sonics. Front illustration by Julie Doucet b? Whether you want to see what we think of today’s kapustni releases or discover what our critics thought of your favourite recordings from the past, you will find it all in our full-searchable Reviews Database. The actual tonality of A minor incidentally has been presaged by the central sonaa of the second movement and even by the emphasis on A at the very start of the work.