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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Don’t show me this message again. Outstanding performances by Steven Osborne. The site is also available in several languages. There is, however, nothing at all traditional about the piano writing itself, which teems with interesting and innovative twists and turns, both stylistically and pianistically.

Nikolai Kapustin

So do Hyperion’s gorgeous sonics. Indeed, it is no exaggeration to say that no other pianist could approach Hamelin in such music.

Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin. The rather short kapudtin movement functions almost as an introduction rather than the substantial movement one would normally expect. There is a central section with more than a hint of rock music to it, before a return to the initial kapystin.

Skip to main content. Geschrieben in der strahlenden und optimistischen Tonart E-Dur, ist sie in traditioneller Form komponiert. Sonata for Piano No 7. Please kapusitn the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults.

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In both works, the composers seem intent on creating almost a narrative structure that kkapustin the listener inexorably towards the finale. Dasselbe kann man in jedem Fall auch bei Kapustin an jeder Stelle seines Klavierwerkes sagen. Sonata No 1 ‘Sonata-Fantasia’, Op 39 composer.

The performances are every bit as attractive as the music.

Sonata No 2, Op 54 composer. Some people sonats to click instantly with the light-hearted jazz-classical fusion of Ukrainian Nikolai Kapustin.

The site is also available in several languages. He always insists on composing at the piano, in order to avoid coming up with figurations which would not fit the hand well.

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

This melody was prefigured in the opening, and but for a certain rhythmic complexity it could almost be a Broadway show tune. 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 that has numerous classical precedents including Beethoven, Liszt and Rachmaninov. kspustin

On her Yamaha instrument she may not find quite the range of colour or mood as Steven Osborne. Front illustration by Julie Doucet b? Update Required To play the media you will need to either update your browser to a recent version or update your Flash plugin. A worthwhile jazz-classical fusion! The all-time greats Read about the artists who changed the world of classical music.

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KAPUSTIN Piano Sonatas Nos 1 & 7 |

The sonaa 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.

Such blatant placing 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. The same can unquestionably be said of Kapustin at any point within the body of his piano works.

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. Selected comparisons Kapustin Piano Music.

KAPUSTIN Piano Sonatas Nos 1 & 7

In contrast to the rather slight proportions of the first three movements, the fourth is a full-blown sonata form movement.

Kapustin war hier nach eigener Aussage von der Country-Musik beeinflusst. Der zweite Satz beginnt wie der erste: