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Hyperion Records

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Track(s) taken from CDA67511
Recording details: September 2004
Caird Hall, Dundee, Scotland
Produced by Andrew Keener
Engineered by Simon Eadon
Release date: July 2005
Total duration: 13 minutes 54 seconds

'Evgeny Soifertis throws it all off in great style and musical intelligence' (BBC Music Magazine)

'None of these pieces was perhaps destined to change the course of Russian music, but they all attest to creative exuberance and skill, slightly anonymous in style maybe, though with a resourcefulness and sparkle to the piano-writing that Evgeny Soifertis communicates with élan' (The Daily Telegraph)

'it's hard to dismiss music that tries so hard to be likeable. Certainly, if you've been collecting the rest of Hyperion's 'Romantic Piano Concerto' series, you'll enjoy this latest addition as well. There are strong notes and typically fine Hyperion engineering' (International Record Review)

'Napravnik's Concerto symphonique throws just about everything into the melting pot, from Verdi's Requiem to Tchaikovsky. The Fantaisie opens arrestingly with a massive rendition of The Volga Boatmen, and if Blumenfeld's Allegro proves slightly less individual, in performances as fiery and impassioned as these, it makes an indelible impact' (Classic FM Magazine)

'Hyperion's recorded sound is excellent, soloist Evgeny Soifertis contributes impeccably manicured playing, and the orchestra performs with immaculate accuracy under Russian maestro Alexander Titov. So if you are interested in exploring the Romantic concerto literature at its most obscure, here's your opportunity' (Fanfare, USA)

'Star of the show is pianist Evgeny Soifertis … His bravura style is all there, but some pianissimo playing and tender melodic phrasing, not least in the slow movements, might have lifted the works out of obscurity' (Pianist)

'Evgeny Soifertis' effervescent, colourful virtuosity never fails to delight' (ClassicsToday.com)

'Both composers are fortunate in having as their champion here such a charming and polished virtuoso as Evgeny Soifertis, whose gift for combining an almost childlike simplicity with scintillating bravura is perfectly suited to the music at hand, and who receives splendid support from Titov and the BBCSSO' (Piano, Germany)

Allegro de concert in A major, Op 7
composer

Introduction  EnglishFrançaisDeutsch
The Allegro de concert in A major Op 7 for piano and orchestra was published and first performed, with the composer as soloist, in 1889. Stasov described it as ‘energetic and captivating’. Liszt’s concertos are an obvious influence, especially in terms of texture and piano-writing. The opening moves from B minor through B flat major before arriving at the home key of A major. The march-like main theme is full of joy and optimism, and is followed by a linking passage (poco più tranquillo) where the piano accompanies a beautiful oboe solo (at 2'20''). The second theme, in E major (poco meno mosso, at 3'01''), with an oriental flavour typical of Glinka and Rubinstein (as well as Balakirev, Borodin and Rimsky-Korsakov), is announced first by the piano and then taken over by the orchestra against the soloist’s leggiero arpeggios. Extended pianistic figurations—the work’s debt to Lisztian keyboard devices is clear—lead to a lyrical minor-key version of the main theme (at 5'43''), with harp-like accompanying passages from the piano. The first theme is then fragmented and undergoes a series of modulations, the piano continuing to provide a backdrop of repeating virtuoso patterning, before the arrival of the recapitulation (meno mosso (tempo I) e maestoso, at 7'32''). A cadenza then further develops the main thematic ideas before the second theme is heard on the clarinet. The piano-writing becomes more intricate and sophisticated, with challenging double notes, as the second theme sings with increasing radiance. The piano then reintroduces the main motif as an ingenious counterpoint to the second theme, played fortissimo by the orchestra (più mosso, at 12'09''), in an ecstatic culmination to this captivating work.

from notes by Evgeny Soifertis İ 2005

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