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Track(s) taken from CDA67433

Piano Sonata No 6, Op 62

composer
1991

Marc-André Hamelin (piano)
Recording details: June 2003
Henry Wood Hall, London, United Kingdom
Produced by Andrew Keener
Engineered by Simon Eadon
Release date: June 2004
Total duration: 13 minutes 15 seconds
 
1
2
Grave  [4'36]
3
Vivace  [2'30]

Reviews

'Everything on this remarkable disc is played with a nonchalant aplomb and magical dexterity hard to imagine from any other pianist. Hamelin … is in his element, and he has been immaculately recorded' (Gramophone)

'The music is full of virtuosity which Marc-André handles effortlessly' (BBC Music Magazine)

'Beautifully recorded, the disc is a delightful—and, as ever, distinguished—addition to Hamelin's discography as well as a major boost to the reputation of one of today's most paradoxical composers. One for the Christmas stocking, I think' (International Record Review)

'Exceptionally well-played and recorded' (The Times)

'Hamelin is one of Kapustin's strongest advocates and proves his perfect interpreter: super cool, he sounds utterly laid-back even in the most fearsome rhythmic traps; his phrasing is exquisitely turned and 'finished'; and his affection for the music shines out in every note. Hear this and you'll be hooked' (Classic FM Magazine)

'Hamelin captures a quality of spontaneity, not to mention sheer agility and elegance, with awesome fluency. A remarkable release in every respect' (Fanfare, USA)

'Hamelin is one of the most gifted pianists around at the moment, and his playing here has such light and shade, wit, nuance, and blinding virtuosity that it is hard to imagine finer performances of this terrific repertoire. The recording is characteristic of Hyperion's piano sound at its considerable best. All in all, one of the most enjoyable piano discs I have heard in ages. Recommended with unquenchable enthusiasm!' (International Piano)

'Marc-André Hamelin simply flies through the music, ignoring any technical difficulties with the most marvellous command and virtuosity … in all, this second disc of Kapustin's marvellous music from Hyperion is the most exceptionally satisfying discovery' (Hi-Fi Plus)

'Hamelin plays with all his trademark virtuosity and nimble wit, making the keyboard thunder and sing' (San Francisco Chronicle)

'Chapeau évidemment à cet incroyable Marc-André Hamelin dont la technique époustouflante s'adapte à tous les genres musicaux. Précipitez-vous pour acquérir cet événement discographique et découvrir cette musique sans pareil. Pour notre part, nous l'avons écoutée une bonne dizaine de fois pour bien nous convaincre de la réjouissante folie du dénommé Kapustin!' (Répertoire, France)
Kapustin has found the classical sonata form to be a congenial and pliable vehicle for composition. His initial efforts in this genre are four-movement works that literally gush with unbridled creativity. The three-movement Piano Sonata No 6, Op 62 (1991), by contrast, subscribes to a more circumscribed game plan, and seems positively Haydnesque in relation to the first two sonatas’ Beethovenian ambitions. Its opening movement (Allegro ma non troppo) adheres to the classic Sonata-Allegro paradigm, and derives most of its material from the jaunty main theme, whose first five notes, coincidentally or not, are identical to the first five of Eddie Harris’s renowned jazz standard Freedom Jazz Dance. The central Grave movement exemplifies Kapustin’s gift for lyrical introspection and melodic poignancy, and the zestful finale commences in the spirit of a tarantella, while detouring through the alleyways of boogie-woogie and stride.

from notes by Jed Distler © 2004

Kapustin a trouvé en la sonate classique une forme souple convenant à merveille à ses compositions. Ses efforts initiaux dans le genre (les Première et Deuxième Sonates) étaient en quatre mouvements débordant littéralement d’une créativité débridée. Les trois mouvements de la Sonate n°6 opus 62 (1991) souscrivent par contraste à un plan plus circonscrit. Elle semble positivement haydnesque par rapport aux deux premières sonates d’ambitions beethovéniennes. Son premier mouvement (Allegro ma non troppo) adhère au paradigme classique de l’allegro de sonate. Il dérive l’essentiel de son matériel thématique du thème principal enjoué dont les cinq premières notes, coïncidence ou non, sont identiques aux cinq premières du célèbre standard de jazz d’Eddie Harris Freedom Jazz Dance. Le mouvement central, Grave, incarne le talent de Kapustin pour l’introspection lyrique et l’émotion mélodique poignante. Le finale piquant débute dans l’esprit d’une tarentelle tout en faisant un petit détour par les allées du boogie-woogie et du stride.

extrait des notes rédigées par Jed Distler © 2004
Français: Isabelle Battioni

Kapustin fand in der klassischen Sonatenform ein passendes und fügsames Kompositionsgerüst. Kapustins anfängliche Versuche in dieser Formgattung (die erste und zweite Sonate) sind viersätzige Werke, die geradezu vor ungezügelter Kreativität überschäumen. Im Gegensatz dazu hält sich die dreisätzige Sixth Sonata, op. 62 (1991) mehr an die vorgeschriebenen Spielregeln und klingt im Vergleich mit den in den ersten zwei Sonaten anzutreffenden Ambitionen Beethovenscher Größenordnung beinah wie ein Stück von Haydn. Der erste Satz der 6. Sonate (Allegro ma non troppo) folgt dem Vorbild des klassischen Sonatenallegros und leitet den Großteil seines Materials aus dem spritzigen Hauptthema ab, dessen erste fünf Noten, ob nun zufällig oder nicht, mit den ersten fünf Noten aus Eddie Harris’ bekannter Jazzmelodie Freedom Jazz Dance übereinstimmen. Der Mittelsatz Grave stellt Kapustins Talent für lyrische Beschaulichkeit und melodische Emotionalität unter Beweis. Der schwungvolle Schlusssatz beginnt in der Art einer Tarantella und fährt dann auf ein paar Umwegen durch die Gassen des Boogie-Woogies und Stride-piano-Stils fort.

aus dem Begleittext von Jed Distler © 2004
Deutsch: Elke Hockings

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