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Beethoven: Sonata No.21 Op.53 in C Major “Waldstein”
Schumann: Sonata No.1 Op.11 in F sharp Minor
Gotanda Bunka Center Music Hall, Tokyo
12&14 July. 2022 Total Time [67’27]
Accept the suffering and come to the joy of life
Tchaikovsky-Pletnev: Concert Suite “Nutcracker”
Tchaikovsky: Grand Sonata in G major, Op.37 / Elegiac Song, Op.72 No.14
This idea is a profound part of Tchaikovsky`s creations. In spite of all the tragic things in life, life continues. Life is a gift from above, and there is joy in it. This thought permeated every aspect of his art, without which Tchaikovsky would not have been able to live. (Mikhail Kandinsky: from the beginning of Programme notes to the CD)
Recorded in 2009 in Sagamiko Cultural Centre Hall, Japan
INT 2012-05 ￥2,000-
The Russian Orient
Glinka-Balakirev: “The Lark”
Borodin: From “Petite Suite”, Op.8 / No.1 “In the Monastery” / No.2 Intermezzo
Rimsky-Korsakov: 4 Pieces Op.11 / 6 Variations on the Theme B-A-C-H, Op.10
Liszt: Nocturne “Liebstraume” No.3
The beauty of oriental feeling is essential in Russian art and music. Glinka, Balakirev, Borodin and Rimsky-Korsakov are especially famous for their operas, romances and orchestral works. Piano masterpieces by these composers are on this album.
Recorded in 2010, Japan
Rachmaninov 24 Preludes
Prelude in C sharp minor, Op.3 No.2
10 Preludes, Op.23 / 3 Preludes, Op.32
These preludes are performed as a cycle, as they were written by Rachmaninov.
Each Prelude is a completed wonderful small piece and at the same time they are subtly connected with the theme of the Prelude in C sharp minor, Op.3 No.2, which was to become very famous in Rachmaninov`s works.
The breadth and width of Rachmaninov`s melodies, coming from Russian nature (one can recall a Russian river on the plane which turns but always continues its flow), the feeling of bell-ringing, choir singing in a Russian church, the experience of native history are all depicted in the performance.
Recorded in 1996 by Moscow radio “Orpheus”
Cover painting: Vassily Kandinsky. “Place near Moscow”
Russian music at the turn of the 20th century
Scriabin: Etude in C sharp minor, Op.42 No.5
Sonata No.2, Op.19 (“Sonata-Fantasy”)
Rachmaninov: Pieces-Fantasies, Op.3
6 Musical Moments, Op.16
Prelude in G major, Op.32 No.5
Prelude in E major, Op.32 No.3
Recorded in 2000 from a live concert in Tokyo, Ongakuno-Tomo Hall
Mikhail Kandinsky plays Chopin ＆ Liszt
Chopin: 2 Nocturnes, Op.48
Ballade No.2, Op.38
Scherzo No.3, Op.39
Liszt: Consolation No.3 in D flat major
Etude in F minor (“transcendante” No.10)
Hungerian Rhapsody No.6
Recorded in 2004 in Shin-Bunkawa Hall, Toyama, Japan
Chopin, Liadov ＆ Scriabin
Chopin: Nocturne in E flat major, Op.9 No.2
From 12 Etudes Op.25: No.6, 7, 8
Liadov: Etude in C sharp minor, Op.40 No.1
Preludes Op.39 No.4, Op.57 No.1
Mazurkas Op.42 No.3, Op.57 No.3
Variations on a Theme by Glinka, Op.35
Scriabin: From 24 Preludes Op.11: No.1, 4, 5, 6, 10
5 Preludes Op.16
Etude in C sharp minor, Op.2 No.1
From 12 Etudes, Op.8: No.1, 3, 5, 6
Chopin: Waltz in C sharp minor, Op.64 No.2
Prelude in B flat major, Op.28 No.21
The influence of Chopin`s music is well known in young Scriabin. But there is also another composer, who`s creation is very close to young Scriabin – Russian composer Liadov. His piano miniatures are known for their poetry, laconicism and depth. The world of these three composers are on this CD.
Recorded in 2005 in Tokyo
INT 2006-01 ￥2,000-
Chopin 24 Preludes
Chopin: 24 Preludes, Op.28 / Berceuse, Op.57 / Barcarolle, Op.60
3 Etudes, Op. Posthumous
The collection of Chopin`s 24 Preludes is a cycle. There are subtle connections between all the pieces. Just to show one of these links I would like to mention the beginning of the last 24th D minor Prelude: melodic notes (d-f-a-c) which derive from the figuration of the previous 23rd F major Prelude and also the chord`s structure is the same as the last chord in the 23rd Prelude. The preludes live together and become one work.
Speaking of Chopin`s works and particularly of Chopin`s 24 Preludes I would like to say that very often in contemporary editions, such as the Paderevsky`s edition, we can see a lot of “corrections” (such as, for example, “correction” of the b-flat to an a-sharp and so on) of Chopin`s original writing for the rule of theory, which destroys the atmosphere and contents. Another good example is the time signature of 3/2 written by Chopin for the 13th Prelude in F sharp major and “corrected” with accordance to the rule of the theory to 6/4. But if this prelude is played in 3/2 the natural wide melodic breath appears.
The performance on this CD is based on Chopin`s facsimile and original editions and also Chopin`s own remarks (such as to his pupils).
Recorded in 2007 in Sagamiko Cultural Center Hall, 2007
INT 2008-02 ￥2,000-