Sheet Music Review
Without doubt one of the more interesting, indeed extraordinary, composers of our times, Nikolai Kapustin was born in the town of Gorlovka in eastern Ukraine in 1937.
At the age of 14 he relocated to Moscow, studying piano at the Conservatoire, and announcing his composing career in 1957 with the Concertino for piano and orchestra Op.1. During this time he also had his own quintet and was a member of Yuri Saulsky’s Big Band; his enthusiasm for jazz continued after graduation when he joined the Oleg Lundstem Big Band.
Focussing purely on composing from the 1980s, Kapustin uses jazz idioms within the context of formal classical structures, writing orchestral, chamber and piano solo works for the concert hall.
Kapustin’s piano writing is for the most part rhythmically complex and highly virtuosic, making huge technical and musical demands on the performer.
Although his jazz-infused classical music is gaining an ever-larger audience of enthusiastic connoisseurs, few of us it seems have found a suitable entry point for learning and performing his works, in spite of the fact that his publishers Schott Music have many of his solo piano works available in print.
Schott’s two latest additions to the Kapustin catalogue may provide impetus, however: the Sonata No.6 Op.62 (1991) and Sonatina Op.100 are among his more approachable works, and should be accessible to players upwards from UK Grade 8 to Diploma level.
Continue reading Discovering the Piano Music of Nikolai Kapustin
Sheet Music Review
Bartók’s monumental cycle of 153 educational piano pieces and 33 exercises, published in six volumes as the Mikrokosmos in 1940, is rightly regarded as a seminal work within the pedagogic literature. But it often strikes me that it is more important than it is popular.
Even in my own studio (and I am a self-confessed Bartók fanatic!) it emerges from the music cupboard far less frequently than the more obviously popular For Children, First Term at the Piano, Rumanian Folk Dances and Ten Easy Pieces.
For those wanting to explore this musical smorgasbord there has never been more opportunity to do so, however, with three excellent editions to choose from. Which, though, is the best?
In this review I will be looking at classic New Definitive Version from Boosey & Hawkes, and comparing the more recent Urtext editions from Henle Verlag and Wiener Urtext Edition. I should note in passing that there is also a budget all-in-one-volume edition from Chester Music, not submitted for review or included in this survey.
Continue reading Which Mikrokosmos?
Sheet Music Review by Alison Eales
It gives me great pleasure to welcome my sister Alison Eales as a sometime reviewer here on Pianodao. Alison is an experienced professional performer, ABRSM examiner, and has been Head of Music at Kingshott School, Hitchin for many years.
For her first review here, Alison is looking at the new Bärenreiter Urtext Edition of the Mozart Piano Concerto in D major, K.537 ”Coronation”.
Continue reading Mozart: Concerto in D, K.537
Esteemed publishers Bärenreiter continue to produce some of the world’s finest editions of core classical piano repertoire (and of course, so much more!) and I have been delighted to see some of their latest releases.
In this review I will look at their new scores of masterworks by Bach, Haydn and Beethoven, which are suitable for post-grade 8 amateur players, diploma students, and professional pianists.
In a separate review I will also be looking at a couple of most interesting recent educational releases, so as always, stay tuned!
Continue reading Masterworks from Bärenreiter
Sheet Music Review
This new format “Show & Tell” review includes both a video, in which I will show you the latest publications from Henle, and a scripted review below, with links to more information on the publisher’s website.
Continue reading Show & Tell: G. Henle Verlag