Boris Berezovsky, Henri Demarquette, Sinfonia Varsovia, Alexander Vedernikov - Tchaikovsky: Piano Concerto No. 2 - Theme and variations - Piano pieces (2013) [Hi-Res]

  • 11 Mar, 12:51
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Title: Tchaikovsky: Piano Concerto No. 2 - Theme and variations - Piano pieces
Year Of Release: 2013
Label: Mirare
Genre: Classical
Quality: flac lossless / flac 24bits - 44.1kHz +Booklet
Total Time: 01:12:02
Total Size: 291 / 591 mb
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Tracklist

01. Concerto pour piano No. 2 en Sol Majeur, Op. 44: I. Allegro brillante e molto vivace
02. Concerto pour piano No. 2 en Sol Majeur, Op. 44: II. Andante non troppo
03. Concerto pour piano No. 2 en Sol Majeur, Op. 44: III. Allegro con fuoco
04. Theme and variations, Op. 19 No. 6
05. Douze morceaux, Op. 40: No. 2, Chanson triste
06. Douze morceaux, Op. 40: No. 5, Mazurka
07. Douze morceaux, Op. 40: No. 6, Chant sans paroles
08. Douze morceaux, Op. 40: No. 7, Au village
09. Douze morceaux, Op. 40: No. 8, Valse
10. Valse sentimentale, Op. 51 No. 6 (Transcription for cello and piano by Viktor Kubatsky)
11. String Quartet, Op. 11: Andante cantabile (Transcription for cello and piano by David Geringas)

Boris Berezovsky, Henri Demarquette, Sinfonia Varsovia, Alexander Vedernikov - Tchaikovsky: Piano Concerto No. 2 - Theme and variations - Piano pieces (2013) [Hi-Res]


The version of Tchaikovsky's Piano Concerto No.2 recorded here by Boris Berezovsky was long known only in the 'Ziloti' Edition of 1897. It drastically abbreviates the work and revises the central Andante to feature a trio of soloists. The piano joined by a solo violin and cello, played here by violinist Jakub Haufa and cellist Marcel Markowski. In addition to the concerto, the recording also includes several works for solo piano and two transcriptions for cello and piano. Taken as a whole, this collection of works illustrates the amazing richness of Tchaikovsky's melodic inspiration.

“They are well played, especially the delicious Andante cantabile from the First string Quartet… the lyrical little ‘Chanson triste’, offer more in the way of Tchaikovskian charm.” (International Record Review)

“it is the Andante that makes the strongest impression...The finale is taken too fast...Both here and in the first movement, Berezovsky seems to find it all technically too easy and fails - in part by glossing over dynamic marking - to inject much sense of personality into the music.” (Gramophone)


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