Movement 1: Allegro molto
Movement 2: Scherzo: Allegro assai
Movement 3: Largo
Movement 3: Largo – Allegro
Movement 4: Allegro – Allegro vivace
Movement 4: Allegro vivace
It is best to leave the listener to discover the many surprises contained in this exuberant work—as well as the various apparent influences—though a couple of features are worth pointing out. The brilliant and overwhelmingly energetic first movement is curiously but very effectively rounded out by a reflective and rather lengthy coda, in great contrast to the ebullience of what came before. And the last movement is unique in its rhythmic framework; it is a perpetual motion set in a repeated pattern of 8+7+8+5 beats, and keeps to this stilted sequence up to the very last bar, resulting in many unexpected accents. Incidentally, this movement is usually thought to have been inspired by the pianism of Art Tatum, but this is because it is often performed too quickly. Kapustin’s stated influence here is the world of country music.
from notes by Marc-André Hamelin © 2008