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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Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all kapusyin and from all periods from the twelfth century to the twenty-first. Hyperion offers both CDs, and downloads in a number of formats.

The site is also available in several languages. Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults. The rather short first movement functions almost as an introduction rather than the substantial movement one would normally expect.

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This melody was prefigured in the opening, and but for a certain rhythmic complexity it could almost be a Broadway show tune. The second movement begins like the first: The chromaticism of the harmonic language kapusgin draws heavily on jazz, but the absence of a clear tonality means the listener is never quite able to settle.


There is a central section with more than a hint of rock music to it, before a return to the initial mood. The last two movements are both fast and this creates a problem of balance: 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 actual tonality of A minor incidentally has been presaged by the central section of the second movement and even by the emphasis on A at the very start of the work. In contrast to the rather slight proportions of the first three movements, the fourth is a full-blown sonata form movement. Such blatant aonata 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.


In both works, the composers seem intent on creating almost a narrative structure that leads the listener sonataa towards the finale. Der zweite Satz beginnt wie der erste: Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin.

Sonata No 2, Op 54 (Kapustin) – from CDA – Hyperion Records – MP3 and Lossless downloads

Don’t show me this message again. Sonata No 1 ‘Sonata-Fantasia’, Op 39 composer. May Total duration: So do Hyperion’s gorgeous sonics.

A worthwhile jazz-classical fusion! Outstanding performances by Steven Osborne.

The performances are every bit as attractive as the music. In particular, the first three movements are played without a break, giving the impression of a constant stream of thought, a long-term structural approach kapustinn has numerous classical precedents including Beethoven, Liszt and Rachmaninov.