Kapustin: Piano Music

Editorial Reviews
Amazon.com
Nikolai Kapustin is a Russian composer and jazz pianist, born in 1937. His credentials are impeccable, including studies with the great pianist Alexander Goldenweiser. Judging from this music, he would have an easy time getting a job at any cocktail lounge in America. Kapustin's jazz style is not what we usually hear in jazz-classical hybrid music, but a thoroughly contemporary "easy-listening" type of jazz that's hard to focus on, even when it's poured into classical forms like the Sonatas. The last movement of the Sonata No. 2, which concludes the disc, is a rousing allegro with good ideas and exciting virtuosity. But despite Osborne's fine playing and the excellent recorded sound, by the time that finale comes around, the listener may well have drifted off into cocktail reveries. --Leslie Gerber

Kapustin: Piano Music, Music, Nikolai Kapustin, Steven Osborne, Chamber Music & Recitals, Classical, Classical Composers, Classical Music, Keyboard, Music for Keyboard

Nikolai Kapustin: Piano Music
Average customer rating:

Technical and Artistic Brilliance from Two Master Pianists

Beyond Words

The Gospel of Nikolai Kapustin is further spread!

Hamelin plays (with) Kapustin.

Remarkable works, Hamelin shines

Nikolai Kapustin: Piano Music
Nikolai Kapustin , and Marc-Andre Hamelin
Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

Chamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music
Hamelin, Marc-André | ( H ) | Featured Performers, A-Z | Classical | Styles | Music
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Customer Reviews:

Technical and Artistic Brilliance from Two Master Pianists.......2007-04-14

Nothing inspires and challenges a piano virtuoso like Hamelin as much as discovering a magic repertoire of another technical virtuoso. Kapustin's monumental technical capabilities, which few of us had the opportunity to hear directly, are presented by Hamelin with percussive athleticisn and intricate precision of execution. For all of us who want to be an inspired devotee to what can best be described as an early "post modern" take on pianoforte, which is Kapustin's legacy, this first collection from Hamelin egages the listener, then inspires, awes and satisfies with flawlessly executed technique, sensitive mood shifts, and dynamic voicing that confidently and potently declares, 'this is the new world, and you are in it'!Nikolai Kapustin: Piano Music

Beyond Words.......2004-12-21

These are too incredible. Hamelin is not just the best pianist of his generation, but a pianist for the ages. In his hands, Kapustin's musicality reaches its perfect voice ... it can only be listened to do it justice.

The Gospel of Nikolai Kapustin is further spread!.......2004-12-18

I have Marc-Andre Hamelin to thank for introducing me to Kapustin's music. He played a work of his as an encore on one of his concerts, and the whole audience was just floored! After much searching I was able to find recordings and printed music. His music is the closest to Gershwin as I have been able to find. His fusion of Jazz and Classical music is a wonder in itself. Hamelin picks some very difficult as well as a couple of rather easy pieces of Kapustin's to record. The Toccatina is the simplest piece of all, very jazzy and almost "cute". The Variations is a mini-catalog of all of Kapustin's styles, from the romantic to boogie-woogie to Errol Garner-style jazz. With the etudes, Kapustin moves more towards the etudes of Lyapounov and Medtner. There are Latin influences, Broadway show tunes, you name it! All very difficult! I've learned some of them and played them in concert and in competition. Do not be afraid of this music-he is a major discovery and we need to spread the gospel of Kapustin around the world! You can find other recordings on Ebay, and at HMV in Japan by Kapustin himself. Groth Music in Bloomington also sells his piano music and our website is www.grothmusic.com. It's hard music, but it's worth the effort! More recordings, please!

Hamelin plays (with) Kapustin........2004-08-18

It is a pity that the highly accessible music of the Russian jazz-classical hybrid composer Nicolai Kapustin still awaits appreciation by the broader audience. While the composer has been putting out records of his own music for years, the appearance of Steven Osborne's excellent album on Hyperion did help to break the barricades of anonymity. Let's hope that this overwhelming album by history's most dexterous pianist will extend the circle of Kapustin fans. While Hamelin has been playing Kapustin for years and has had audiences break down the walls by playing the finale of the former's Second Sonata while sight reading (!), we finally get a generous full disc of jazzy delights.

There is a lot of discussion whether Kapustin is a jazz or classical composer, yet to quote Peter Schikele quoting Duke Ellington: "when it sounds good, it is good". Still, for the performer there is a choice on how the approach the works. Should it be in the spirit of classical music closely following all of the composer's markings, or in the jazz approach of regarding the score as a starting point of an interpretation. Hamelin clearly follows the classical approach in following the at times frighteningly difficult scores with the kind of precision required for playing a Boulez Sonata. Yet, thanks to his unmatched technique and equally impressive sense of rhythm, this is the most jazzy Kapustin that I have heard.

Comparing the three Kapustin players that I have on the shelf, I consider Kapustin himself to give his music a Prokoviev flavor. His rhythms are angular, with a tendency towards the mechanic compensated with a strong personality. Osborne approached the music a bit more from a Rachmaninov perspective, more melodic than mechanic, and clearly outdid the composer in the first Sonata and some of the slower preludes. While taking fewer liberties than Osborne, Hamelin's Kapustin reminds me of a very jazzy Strawinsky in one of his French moods.

Many of the works on this cd can be compared head to head with interpretations by the composer. Hamelin is clearly helped by a much better, more spacious recording, which is an important factor in the more laid back result. While he does not deviate significantly from the tempos and accents set by the composer, he does take the works to a higher level. This because of two reasons: 1 (not so surprising) his techniques is clearly superior. On the one hand this results in more clarity at the most difficult moments and superior left hand figurations - years of left hand torture in the Godowsky-Chopin Etudes does pay of. Moreover, thanks to his speed, he is always in time, which results in a more relaxed atmosphere and allows him to highlight all the interesting French bits that I had not previously recognized in the score. 2 (surprising for a "classical" pianist) Hamelin has by far the best sense of jazz of the three pianists. While some pianists like Thibaudet have shown mastery of a couple of jazz genres, Hamelin shows proficiency in the lingos of Ellington, Garner, Professor Long Hair and Bill Evans, just to name a few.

After Kapustin's ode to Strawinsky in the opening theme and variations things are really starting to heat up in the Eight Concert Etudes, which blow away anything Gershwin ever wrote. These are my favorite pieces of the disc and belong in the standard repertoire. From the first Etude on Hamelin's interpretation sizzles and reminds you of the big Alkan Sonata. The man is having fun, and then some. While interesting, I consider his Suite as lesser material. The liner notes talk about the hybrid of Gospel music and a Bach French Suite. To me it is more of an attempt towards a Tombeau de Duke Ellington in the vein of Ravel's Tombeau the Couperin. Still, the slow movement in Hamelin's hands can compete for the title "best Kapustin on record", and the ease with which the man from Philly makes his way through the often highly complex neo-baroque embellishment will make many pianists fly over the cuckoo's nest. The Sixth Sonata gets a relaxed and humorous approach, with a final movement full of sturm and stride that makes you forget how difficult this score is. Next, to paraphrase Benny Goodman, we get Mr. Haydn goes to town. Kapustin's little Sonatina is a comic gem and in this beautifully light and humorous interpretation not only shows you Kapustin's expertise in blending jazz and classical, but also indicates the links between Haydn's compository approaches and 20th century jazz practices. The album closes with the "interval" etudes. All pieces are extremely challenging and get ideal interpretations. As always Hamelin stays cooler than Joe Montana having three defensive line men and an equal number of linebackers storming at him. I especially liked the final Etude, an ode to Debussy's final Etude. For all those of us who still have a tough time getting all those parallel octaves of Liszt' sixth Hungarian Rhapsody in proper alignment, Hamelin's trip through this octave jungle seems to come from another dimension.

In all, another great album by Hamelin, well recorded. Kapustin rules!!!

Remarkable works, Hamelin shines.......2004-08-03

True, Russian composer Nikolai Kapustin is not a household name, but with CDs like this, hopefully his time will come (and soon). How should this album be recommended? The draw will either be Kapustin or Hamelin (or both) - and review boards are already flooded with superlatives for Marc-Andre Hamelin, the Canadian sensation with a mind-boggling technique. That said, I'll say what I can about Kapustin's works to offer a recommendation, as there is far less about him and his compositions.

Kapustin is often labeled as a 'jazz-' or a 'crossover-' composer. I think that the latter is a more appropriate label. True, many of his compositions are jazzy, but he certainly does not limit himself to this style, and the idiomatic well from which he draws is so deep, that no listener will be displeased. Reviewers often mention Art Tatum, Gottschalk, Jelly Roll Morton, Gershwin, Joplin, and Zez Confrey as those whose sounds are evoked in Kapustin - his works range over blues, jazz, ragtime, and 'cocktail bar nonchalance' themes in addition to delving into more modern ideas.

The Variations Op. 41 and 8 Concert Etudes, Op. 40 are indicative of the more jazzy side, as is the Bagatelle No. 9. The Suite in the Old Style, Op. 28 and Sonata No. 6 are, while excellent compositions, more on the borderline, thematically, between jazz and 20th-century. Recordings of these works already exist (all of them performed by Kapustin, on Russian labels), so the real gems of Hamelin's disc are the Sonatina, Op. 100 and 5 Etudes for Piano in Different Intervals, Op. 68. The Sonatina is a delightful Haydn-esque romp, very light, and the Interval Etudes are some of the most difficult, harrowing, and breathtaking etudes I've heard. The final 'Etude in Octaves' is, as another reviewer put it, "the octave study to end all octave studies," which Hamelin plays to perfection.

Yes, I'll admit I am a fan of Kapustin's music (I own 7 or 8 albums) so my recommendation is slightly biased, but all those whom I've leant this CD to have been astonished. I fully recommend this album - but have a listen to some audio samples first to judge for yourself. Tower Records has streams of all the tracks, as well as Steven Osborne's wonderful Hyperion Kapustin album. The Boheme Music website has 2 whole albums available to stream with Kapustin himself as the composer, including works featured on this disc. Check them out. Not convinced? As for a proper review of this album (this is my first; apologies to all!) and more information, please visit the Hyperion Records website for Jed Distler's comments. Happy hunting!

Average customer rating:

Great music, beautifully played
It Doesn't Matter What You Call It
The best of both worlds.
Great composer, great compositions, soso performance... :-/
Great composer and great pieces!, but lousy performer...

Kapustin: Piano Music

Manufacturer: Hyperion UK
ProductGroup: Music
Binding: Audio CD

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Catoire: Piano Music

ASIN: B00004TARX
Release Date: 2000-06-13

Amazon.com

Nikolai Kapustin is a Russian composer and jazz pianist, born in 1937. His credentials are impeccable, including studies with the great pianist Alexander Goldenweiser. Judging from this music, he would have an easy time getting a job at any cocktail lounge in America. Kapustin's jazz style is not what we usually hear in jazz-classical hybrid music, but a thoroughly contemporary "easy-listening" type of jazz that's hard to focus on, even when it's poured into classical forms like the Sonatas. The last movement of the Sonata No. 2, which concludes the disc, is a rousing allegro with good ideas and exciting virtuosity. But despite Osborne's fine playing and the excellent recorded sound, by the time that finale comes around, the listener may well have drifted off into cocktail reveries. --Leslie Gerber

Customer Reviews:

Great music, beautifully played.......2007-01-13

This is absolutely wonderful music. After hearing this recording a few years back, I simply had to learn the first sonata, which I did after considerable difficulty in obtaining a score (a fairly large number of Kapustin scores are more easily obtainable now). I don't quite understand Mr. Morrison's problem with the title of sonata; both the finale of No. 1 and the opening movement of No. 2 are in clearcut sonata form, and there are additional motivic connections between the movements of each work. They are far from being mere independent pieces strung together.

Osborne's performances are beautiful. Some may want to hear these works played in a more overtly "jazzy" manner, but Osborne is obviously stressing the "classical" side of the equation. At any rate, he obviously loves this music, and his performances are both sensitive and played with great conviction. It's a pity that only about half of the Op. 53 Preludes could be included, because the whole set is an amazing creative accomplishment, worthy to be placed alongside similar sets by Chopin, Scriabin and Rachmaninov. I would recommend aquiring Kapustin's own recording of the entire set, just to hear it complete. His playing is not in Osborne's class as far as imagination is concerned, but is enjoyable nonetheless. At any rate, you can't go wrong with Osborne's recording, and both music and performances beautifully stand up to unlimited repeating hearings.

It Doesn't Matter What You Call It.......2003-09-20

Boy, where to start? I wonder how the recording label, Hyperion, decided to put this in the 'classical' category. Probably they did so because Kapustin himself called these pieces 'Sonata' or 'Prelude.' But, truth to tell, I'm hard pressed to find very much in the way of easily identifiable classical music procedures here (aside from grouping four pieces together and labeling them a sonata) unless one considers an eleven-minute piece [the first movement of the Second Sonata] 'classical' on the basis of length alone; of course, that would require us to include some of the improvisations of people like Keith Jarrett or Cecil Taylor in that category, too, and I suppose some would do so. Of course, a composer can call his music whatever he likes (look at Satie!) and if Nikolai Kapustin (b. 1937) wants to give these pieces 'classical' titles, that's his privilege. Maybe one of our best Amazon classical CD reviewers, 'weirdears' [Chris Forbes], who is himself a jazz pianist and composer, should be reviewing this disc. How about it, Chris?

That aside, I found this CD to be entirely delightful, once I got over my expectation that I'd be hearing sonata-allegro or other similar procedures. And I had already had SOME idea what to expect because Marc-André Hamelin had included the Toccatina, Op. 36, on his 'Kaleidoscope' CD (also from Hyperion and highly recommended).

What we have here is a masterful compendium of piano jazz styles, everything from barrelhouse, stride and boogie to Bill Evans, Cecil Taylor, Oscar Peterson, McCoy Tyner and Art Tatum, not to speak of the introspectively melodic close-hands technique of George Shearing and Denny Zeitlin. There is no question that Kapustin, who studied with one of the best classical piano teachers in Russia, Aleksandr Goldenweiser, and who has made his living off and on as a touring jazz pianist, has the technique to play (and write) spectacular solo jazz pieces. It is to his credit that he wrote them down--although I gather getting ahold of published copies of his music is a bit byzantine--and that young British pianist Steven Osborne has learned to play them. [One understands that there are bootleg recordings of Kapustin playing but I've never run across any of them.]

Leslie Gerber, a fine record reviewer specializing in piano music (and a fine pianist as well) dismisses this music as 'cocktail lounge' music. All I can say is that Gerber must hang out in better cocktail lounges than I've ever been to. This is superior jazz-making and it is no surprise to me that Osborne, whose own piano-playing credentials include a fine recording of Messaien's 'Vingt Regards' and a recently released CD of Alkan's 'Esquisses,' need not be embarrassed by this choice of repertoire.

So, the bottom line is this: if you like solo piano jazz and you have a taste for something a bit unusual, try this Russian 'Third Stream' music. I honestly don't think you'll be disappointed unless you imagine you're going to be hearing something like, say, Scriabin, Prokofiev or Medtner.

TT=69'11

Scott Morrison

The best of both worlds........2001-10-22

Searching the web for items on Marc-Andre Hamelin I came across a review of a concert, that he finished with a performance of Kapustin's second sonata, while bringing down the house. Looking through the racks of my local store I came across this cd. I held out for a little while hoping on a future Hamelin release, but I am glad that my impatience got the better of me. This cd is a beauty and a pure joy from beginning to end. I am also certain that this won't be the last time that we hear from Osborne and am in complete disagreement with the previous reviewer, who best emphasizes his own musical knowledge by claiming that Kapustin's score of the second Sonata looks easy, but is unplayable. Like Frank Slate (A. Pacino) would say: Ouahh, we've got a moron here!

Kapustin/Osborne succeed where most others fail: in bringing a synthesis between two worlds of music by combining elements from classical and jazz into a completely valid and plausible mix. In his excellent liner notes Osborne mentions earlier successes of cross-fertilization in composers like Brahms and Ravel, but also the dangers that it can lead to. Just buy yourself some Bocelli for Halloween, and you know what I mean.

The greatest compliment that can be given to both composer and performer is that all the music sounds so easy, while the opposite is the case.

Kapustin has a Mozartian ability to combine heterogeneous elements in seamless unity. Based on thorough knowledge of a wide variety of jazz styles, and on classics like Rachmaninov, Ravel, and especially Prokoviev, he weaves a dazzling tapestry of endlessly changing colors and textures. My favorite on this disc is the second sonata, with its murderous final movement. Take this movement for example. It starts like Cecil Taylor, switches almost immediately to professor Longhair-type stride and than skips back and forth between jazz and the likes of Prokoviev (Toccata) and Ravel (G major Concerto), almost like a Pynchon chapter set to music.

Osborne really does an excellent job as a pianistic chameleon. In the slower pieces he adjusts phrasing and color to perfection. In the fast pieces he gives every detail appropriate attention and stylistic expression, while maintaining a sense of the whole.

The recording is closely miked, very clear and dynamic.

For those with an open ear for 20th century music and interest in "structured" Jazz: look no further!

Great composer, great compositions, soso performance... :-/.......2001-04-19

Osborne is a good piano player otherwise he would not be able to play Kapustin, sure. I ve listened to MIDIs and to Marc-Andre Hamelin; compared, Osborne plays not as good. Kapustin has released CDs too (Olympia label and other labels like Bohemia, etc.), but I have nt listened to the composer's performances yet. I doubt that he plays his own pieces better than Marc-Andre Hamelin. Hamelin is the only worthy player for such hard stuff, like Kapustin, Sorabji, Alkan, Medtner, Scriabin, etc. etc.

Great composer and great pieces!, but lousy performer..........2001-04-19

Amazon.com

This may be the only recorded classical piano recital in which you're likely to burst into "From the halls of Montezuma to the shores of Tripoli," since the music of the Marine Corps' anthem stems from an Offenbach operetta duet, performed here in Hamelin's edition of Jakob Gimpel's piano arrangement. That's an indication of the fun you'll hear among the 20 piano miniatures in this recital. There's also a truckload of superior salon music: tuneful, often sentimental pieces favored by 19th century pianists and audiences. And there are plenty of pianistic fireworks, too, as in Hamelin's gloss on a Paganini-Liszt étude and Josef Hofman's dazzling Kaleidoskop, which gives the disc its title. Throughout, Hamelin plays with his usual virtuosity, demonstrating mastery of various styles, from waltzes to technical exercises and even jazz, as in Kapustin's Toccatina. Several works on the disc are by composers even keyboard buffs will not have heard of, but everything clicks. First-rate sonics, too. Piano fanciers won't want to miss this one. --Dan Davis

Customer Reviews:

A pleasing variety of piano miniatures.......2003-12-11

This CD is another must-have for Marc-Andre Hamelin fans. The rarities on this album make it a true treasure, with all its diversity and freshness. Hamelin's own "Campanella" etude is an interesting addition to the several arrangements already set forth by Liszt. Jakob Gimpel's "Song of the Soldiers at Sea" is a fantastic virtuosic piece that would serve well as a final encore (and Mr. Hamelin has done other pianists a great service in bringing this piece back to life and to the printing press, available through redheiferpress.com). Blumenfeld's etude for the left hand is poetically played, showing how a piece for a single hand can have great musical value and not just be an 'exercise' for the hand. Kapustin's Toccatina is a delightful jazzy piece, in the spirit of some of Vince Guaraldi's "Peanuts" music, with a catchy beat that will have the listener dancing with glee.
These are but four pieces out of the 20 Mr. Hamelin has chosen for this recital. All have their musical merits and each would add spark and a fascinating variety to the piano recital, which is too often composed of recycled repertoire.

Give the Man a Break.......2003-06-05

I read many of the reviews of "Kaleidescope" and have come to the conclusion that some of the people who listened to this disc simply did NOT understand it. Marc-Andre Hamelin is not trying to offer you the "real classics." The standard piano literature does not constitute a large part of ANY of his discs. I believe that this recording is simply UNPARRALLED. It presents selection of salon music, archaic virtuoso pieces, as well as some original "transcriptions." I believe the his musicality transcends the average virtuosos interpretation of music. Instead of "packing a punch" by accentuating individual aspects of a line, or a phrase, Hamelin is able to make all of these, albeit "poor compositions", come to life by being cognizant and function as a whole. Furthermore, there are people who may attack a transcription as being unorthodox. No, this is simply a presentation of a virtuoso's "take" or feelings concerning a piece. For we do not EVER see things as they truly are, but rather as WE are. You will NOT find Liszt "La Campanella" on "Kaleidescope". No, instead, you will see Hamelin in every turn of phrase. I think this is VASTLY more valuable. It allows us to see Hamelin. (Remember, Liszt transcribed the orginal CONCERTO!) Enjoy this CD--its truly wonderful.

Where's Liberace when you need him?.......2002-05-18

What's the deal with Hamelin? I don't know.
As fast as a player piano and just about as musical.
The works don't have any substance either.

Divine Madness And Other Fun.......2002-04-20

This recording should come with a warning not to listen to more than few tracks at a time! Even pianophiles will be spoilt on this sampler of bon bons.

Hamelin teases us with another addition to his incomplete set of virtuoso etudes. The third etude, after Paganini-Liszt, is absolutely uproarious. Hamelin also gives Jakob Gimpel's (who?) Offenbach transcription a performance worthy of the pre-retirement Horowitz. This alone is worth the price of admission.

There is a rendition of the Blumenfield left-hand etude that is on par if not better than any of Simon Barere's famous recordings. And, since Shura is no longer with us it is nice to hear Josef Hofmann's Kaleidoskop once again in capable hands. Hofmann's Nocturne receives a resurrection as well. There is a ravishingly beautiful piece which Hamelin has adapted from Glazunov's The Seasons. But, the piece I could not stop playing over and over was the infectiously rythmic Kasputin Toccatina--true virtuoso jazz!

Leopold Godowsky accused Theodore Leschetizky of setting the art of piano playing back a hundred years. Hamelin has set back most of today's pianists at least that much. The only thing missing here is the kitchen sink; Hamelin has thrown everything else in. The only thing missing here is Rubinstein's Staccato Etude and the Melody in F. Not exactly a balanced recital, but marvelous fun. If you love piano, you have to have this! It's better than the entire Kissin discography combined.

Divine Madness And Other Fun.......2002-04-20

This recording should come with a warning not to listen to more than few tracks at a time! Even pianophiles will be spoilt on this sampler of bon bons.

Leopold Godowsky accused Theodore Leschetizky of setting the art of piano playing back a hundred years. Hamelin has set back most of today's pianists that much. The only thing missing here is the kitchen sink; Hamelin has thrown everything else in. The only thing missing here is Rubinstein's Staccato Etude and the Melody in F. Not exactly a balanced recital, but marvelous fun. If you like piano, you have to have this! It's better than the entire Kissin discography combined.

Jazz Pieces For Piano - Nikolai Kapustin
Average customer rating:

Crossover jazzy composer Mr. Kapustin

Jazz Pieces For Piano - Nikolai Kapustin

Manufacturer: Boheme music
ProductGroup: Music
Binding: Audio CD

General | Jazz | Styles | Music
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Nikolai Kapustin: Piano Music

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ASIN: B0002G1L9Q

Product Description

Eight Concert Etudes (1984) 01. Prelude 02. Dream 03. Toccatina 04. Reminiscence 05. Shutka 06. Pastoral 07. Intermezzo 08. Final 09. Sonata Fantasy Op.39 (1983) 10. Suite in Old Style Op.28 (1977) 11. Variations Op.41 (1984

Customer Reviews:

Crossover jazzy composer Mr. Kapustin.......2004-10-01

Nikolai Kapustin is rather only recently gaining more attention, with two recent CD releases on Hyperion by Steven Osborne (2000) and Marc-Andre Hamelin (2004) completely devoted to Kapustin's music.
All the pieces on the current CD (except for the Sonata-Fantasy) are also on Hamelin's new album. The music is a 'fusion' between classical forms and jazz idioms. As the composer himself states, he classical forms are more important than jazz forms; the jazz is there to provide the music with color. Many of the pieces are delightful and should be appealing to a wide audience. Also, the listener gets the impression the pieces are improvised, when they are being played as written, so meticulous and well-thought out is Mr. Kapustin's music.
This CD, along with the Hamelin disc, should be in every pianophile's collection.

Average customer rating:

24 Preludes in Jazz Style Op. 53

Manufacturer: Boheme Records
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
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Jazz Pieces For Piano - Nikolai Kapustin
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Product Description

Tracks 1. Preludes op.53 1 2. Preludes op.53 2 3. Preludes op.53 3 4. Preludes op.53 4 5. Preludes op.53 5 6. Preludes op.53 6 7. Preludes op.53 7 8. Preludes op.53 8 9. Preludes op.53 9 10. Preludes op.53 10 11. Preludes op.53 11 12. Preludes op.53 12 13. Preludes op.53 13 14. Preludes op.53 14 15. Preludes op.53 15 16. Preludes op.53 16 17. Preludes op.53 17 18. Preludes op.53 18 19. Preludes op.53 19 20. Preludes op.53 20 21. Preludes op.53 21 22. Preludes op.53 22 23. Preludes op.53 23 24. Preludes op.53 24 25. Dawn 26. Toccatina 27. Meditation 28. Sound of Big Band 29. Moving Force

Average customer rating:

Piano Music played with elegant eloquence!

Sachiko Kato, Piano

Manufacturer: Sachiko Kato
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
ASIN: B000056ICF
Release Date: 2000-01-01

Tracks:

Maestoso - Allegro Con Brio Ed Appassionato
Arietta: Adagio Molto Semplice E Cantabile
I. Allegro Energico
II. Allegro Vivace E Leggero
III. Adagio Mesto
IV. Fuga: Allegro Con Spirito
No.1 Prelude
No.2 Reverie
No.3 Toccatina
No.7 Intermezzo
No.8 Finale

Customer Reviews:

Piano Music played with elegant eloquence!.......2001-02-28

In her own quiet and profound way, Ms. Kato expresses the essence of the music of three distinct periods; all in elegant eloquence.

We are delving into a realm beyond mere technique, as that is always a given when it comes to piano performance.

The Barber Sonata happens to be one of my favorite 20th Century piano compositions and in my opinion, perhaps, one of the finest. The last movement Fuge never fails to move one's soul with its haunting melodic lines. Ms Kato brings out all of this quite well, indicative of her profound understanding of the work. It may be worth pointing out that in the midst of the Fuge itself, Barber alludes to the "Prelude", a form commonly associated with Bach's Preludes and Fuges, especially of the "Well-Tempered Clavier Books I & II". This is brought out very distinctly as well.

For those who like to jazz it up a bit, the Kapustin is, by no means, an easy piece to play. Despite it's jazzy overtones, the pieces are actually very well balanced in form and structure, and are true compositions that are well thought out. Ms. Kato gives the illusion of improvisation and her flowing lines certainly do justice to the Etudes. She had me believing that she was jazz pianist for a while there!

As for Beethoven, what more is there to say of him that has not already been said.

Schulhoff, Prokofiev, Stravinsky, Kapustin - 20th Century Piano Sonatas - Nikolai Petrov
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Schulhoff, Prokofiev, Stravinsky, Kapustin - 20th Century Piano Sonatas - Nikolai Petrov

Manufacturer: Olympia
ProductGroup: Music
Binding: Audio CD
ASIN: B0007ZSLOU

Product Description

Ervin Schulhoff (1894-1942). Sonata No 3 (1927) (18.28): 1. I. Moderato cantabile 5.38 2. II. Andante tranquillo quasi improvization 3.12 3. III. Allegro molto 2.12 4. IV. Marciafunebre 3.28 5. V. Finale retrospettivo. Allegretto moderato 3.58. Sergei Prokofiev (1891-1953). Sonata No 6 in A major (25.44): 6. I. Allegretto moderato 7.36 7. II. Allegretto 3.58 8. III Tempo di valzar lentissimo 8.10 9. IV. Vivace 6.00. Igor Stravinsky (1882-1971). Sonata (1924) (8.57): 10. Part 1 2.25 11. Part 2. Adagietto 3.59 12. Part 3 2.33. Nikolai Kapustin (b.1937). Sonata No 2 (21.25): 13. I. Allegro molto 8.45 14. II. Allegro assai-Largo 3.30 15. III. Perpetuum mobile. Allegro vivace 9.10. Nikolai Petrov, piano.

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20th Century Piano Sonatas

Manufacturer: Olympia
ProductGroup: Music
Binding: Audio CD

General | Classical | Styles | Music
ASIN: B000003W5D
Release Date: 1993-10-04

Tracks:

Son No.3: I. Moderato cantabile
Son No.3: II. Andante tranquillo quasi improvization
Son No.3: III. Allegro molto
Son No.3: IV. Marcia funebre
Son No.3: V. Finale retrospettivo. Allegretto moderato
Son No.6 in A: I. Allegretto moderato
Son No.6 in A: II. Allegretto
Son No.6 in A: III. Tempo di valzar lentissimo
Son No.6 in A: IV. Vivace
Son: I. Part 1
Son: II. Part 2. Adagietto
Son: III. Part 3
Son No.2: I. Allegro molto
Son No.2: II. Allegro assai-Largo
Son No.2: III. Perpetuum mobile. Allegro vivace

Twenty Four Preludes in Jazz Style Op.53 - Nikolai Kapustin

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Monster Chopster!
An Amazing Piano Talent
Kapustin playing jazzy compositions

Twenty Four Preludes in Jazz Style Op.53 - Nikolai Kapustin

Manufacturer: Boheme Records
ProductGroup: Music
Binding: Audio CD

General | Jazz | Styles | Music
Similar Items:

Jazz Pieces For Piano - Nikolai Kapustin
Nikolai Kapustin: Piano Music

ASIN: B0002G1X62

Product Description

Preludes op.53 1 Preludes op.53 2 Preludes op.53 3 Preludes op.53 4 Preludes op.53 5 Preludes op.53 6 Preludes op.53 7 Preludes op.53 8 Preludes op.53 9 Preludes op.53 10 Preludes op.53 11 Preludes op.53 12 Preludes op.53 13 Preludes op.53 14 Preludes op.53 15 Preludes op.53 16 Preludes op.53 17 Preludes op.53 18 Preludes op.53 19 Preludes op.53 20 Preludes op.53 21 Preludes op.53 22 Preludes op.53 23 Preludes op.53 24 Dawn Toccatina Meditation Sound of Big Band Moving Force Nikolai Kapustin - piano

Customer Reviews:

Monster Chopster!.......2005-09-17

I was amazed with Marc-Andre Hamelin's disc of Kapustin's music, and expected Kapustin playing himself not to stand up to Hamelin's achievement. Many composers were/are passable pianists, but not necessarily virtuosos. But Kapustin is. He possesses enough, well, Motive Force, to electrify a small state.

Kapustin's "time", or sense of rhythm--and the misunderstood term "swing" doesn't quite capture the quality--is astounding, especially considering that not only is he rendering this spectacular sense of music "time" in his performance, but is, by implication, scoring it. Kapustin has notated what would seem impossible within the limited "resolution" of musical notation.

Having said that, some of the Preludes's rhythms, on the brain-stem level, remind me--no offence--of various Russians or Europeans I've seen at parties, bucking, lurching, loping, twisting--"dancing", energetically evincing a certain Eastern stiffness of the hips. This description isn't of a flaw in Kapustin's ouvre, and is perhaps only a reflection of my tastes--how could I "love" all 24 preludes? I'll settle for half of that. One has been reminded, in liner notes and by Amazon reviewers, that Kapustin's music is "classical", and "jazz" is there in spirit, if not in intent (jam your heart out, come what may). Even so, you can hear tens of "familiar" riffs--from blues, jazz, supper-club songs--and because of, or despite, the extraordinary context they are heard in, they render Kapustin's music highly accessible. I wonder what Chopin would have thought.

An Amazing Piano Talent.......2004-12-16

This is an amazing collection of short pieces. Classically trained Kapustin moonlighted as a jazz pianist and here on this cd we can hear an amazing synergy of these styles. Art Tatum meets Stravinsky meets Scott Joplin.

A breathtaking talent.

Kapustin playing jazzy compositions.......2004-10-01

My first exposure to this interesting composer came from Marc-Andre Hamelin's "Kaleidoscope" on Hyperion. There Mr. Hamelin plays the Toccatina Op. 36, included on the current CD. It's a brilliant little piece and a great introduction to Kapustin's world.
The preludes are the main work on this disc and cover a tremendous range of jazz styles. They display Mr. Kapustin's wit and brilliance and his pianistic ability. Kapustin fans should purchase this album without hesitation.
(...)

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