In stock. Order now for immediate despatch. Both versions were composed in , with the piano version serving a purely pragmatic purpose: to be performed at the USSR Ministry of Culture in front of a commission composed of distinguished Soviet composers and musicologists. At the time I thought that this arrangement was for a one-time use only, but this did not turn out to be the case: first Japanese pianists began to perform it, and then others. Of course, these four pieces could have been arranged in a more inventive and as a result, more complex manner. Perhaps it is for the better, since my piano music, as a rule, is technically very difficult with a few exceptions.
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Deutsch Envisage this scenario: you are a music lover who appreciates jazz and what serious music lover does not? Fair enough.
First you notice the instrument, then the idiom. You assume, fairly, that the pianist is an eclectic, improvising virtuoso, most likely an American, who spins out inventive, scintillating right-hand runs against busy, restless left-hand ostinatos and chordal jumps.
But who is it? Before you venture a guess, your host asks if you are sure that this pianist is actually improvising. At first you think yes, after all, this is jazz, right? What about those elaborate figurations, complex runs, and sense of everything holding together? Your host flashes a knowing smile, and places the present CD cover in your hand. Born in Gorlovka, Ukraine, in , Kapustin began to play the instrument at the age of seven, studying with Avrelian Rubakh, a pupil of Felix Blumenfeld the teacher of Simon Barere and Vladimir Horowitz.
Later Kapustin attended the Moscow Conservatory, where he worked with Alexander Goldenweiser, then in his early eighties. Writer Martin Anderson asked Kapustin what made him consider fusing classical structure and jazz idiom. When I took it to my friends they were very excited, and so I understood that I was on the right way. Kapustin subjects the Stravinsky-derived theme to subtle rhythmic displacements within and over the barlines. The steady medium swing tempo is implied more than overtly stated.
The steady stream of right-hand semiquavers concluding this variation dovetail into the next one, building up to some grandly swinging, full-bodied piano writing that Erroll Garner would recognize as his own. No 1 Allegro assai tears out from the starting gate with a twelve-bar introduction that quickly transports us to the crowded streets of Rio de Janeiro at the height of Carnival season.
No 8 Prestissimo is similar in style and mood to Nos 1 and 3, but more compact. Notice how the undulating left hand provides a bass function as well as melodic counterlines, rendering a rhythm section superfluous. The Suite in the Old Style, Op 28 alludes to the rich mother lode of African-American spirituals and Gospel music through the structural contours of a Bach French Suite or Partita, with each movement corresponding in texture, tempo, and hierarchy of repeats to its precise baroque counterpart.
Similarly, Kapustin has found the classical sonata form to be a congenial and pliable vehicle for composition. His initial efforts in this genre the first and second sonatas are performed by Steven Osborne on Hyperion CDA are four-movement works that literally gush with unbridled creativity.
In this case, however, someone has dosed poor kitty with Grade A Catnip! And on and on. But like most good composers, Kapustin knows when to stop. A decisive, upward glissando on the black keys brings the opus, and this recital, to a rousing close. La question est de savoir qui joue? Mais qui est-il donc?
Il vous tend la pochette. Et encore et encore. Warum auch nicht. Zuerst erkennen Sie das Instrument, dann die Musiksprache. Das ist einfach: Soloklavier, Jazz. Die Frage ist nur, wer spielt? Aber wer ist das? Kapustin wurde in Gorlowka, Ukraine, geboren und begann im Alter von sieben Jahren Klavier zu spielen. Kapustins zweigleisige Interessen an Jazz und Komposition regte ihn dazu an, die beiden Disziplinen bewusst zu verbinden. Der Autor Martin Anderson fragte Kapustin, was ihn dazu bewegt haben mag, eine Verbindung zwischen klassischer Struktur und Jazzidiom zu versuchen.
Als ich Freunden meine Kompositionen zeigte, waren sie ganz aufgeregt, und so verstand ich, dass ich mich auf dem richtigen Weg befand. Kapustin hat die stilistische und kompositionstechnische Evolution dieser Musik von Scott Joplin bis Keith Jarrett nicht nur eingearbeitet, sondern wirklich verinnerlicht.
Die Variationen, op. Tonwiederholungen springen von einem Register zum anderen und erinnern an die wohlerzogenen Synkopen aus Gershwins Rhapsody in Blue. In Nr. Die vorletzte von Kapustins zehn Bagatelles, op. Die Suite in the Old Style, op. Der erste Satz der 6. Jahrhundert verbreiteten virtuosen Klavierspieltechniken einen ironischen Spiegel vor. Ungarischer Rhapsodie, dem Schlusssatz aus Prokofjews 7. Und immer weiter.
Deutsch Envisage this scenario: you are a music lover who appreciates jazz and what serious music lover does not? Fair enough. First you notice the instrument, then the idiom. You assume, fairly, that the pianist is an eclectic, improvising virtuoso, most likely an American, who spins out inventive, scintillating right-hand runs against busy, restless left-hand ostinatos and chordal jumps. But who is it? Before you venture a guess, your host asks if you are sure that this pianist is actually improvising.
KAPUSTIN ETUDE OP.40 PDF
Elegy for cello and piano Op. Fantasia for jazz quartet Op. String Quartet Op. Violin Concerto Op. Six Little Preludes for piano solo Op.
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