Shostakovich: Prelude for piano, Op. 34 No. 14 in E flat minor

Dmitri Shostakovich, Mikhail Glinka, Alexander Glazunov, Igor Stravinksy, Nikolai Rimsky-Korsakov and Piotr Tchaikovsky - this CD brings together six very different Russian composers from two centuries, all of whom have one thing in common: their close ties with St. Petersburg.

Katya Apekisheva makes her solo ONYX debut with the work that brought the house down at her recent recital in London’s Wigmore Hall. Katya has appeared on disc for ONYX accompanying Maxim Rysanov, ONYX4033 Brahms Viola, and regularly performs with Jack Liebeck and Natalie Clein.

This is the beginning of a 30-CD project featuring not only recognised masterpieces of Russian and Soviet music, but also unjustly forgotten compositions. Many of the compositions will be recorded for the first time. The performers are young virtuosos of the piano who have also been involved in the research for this project.

These scores show two completely different periods in the life of Shostakovich: that of a young musician suddenly become famous, going from strength to strength, and a quarter of a century later, the trials and disappointments, both professional and romantic, of a composer nearing his fiftieth anniversary. After his recent success at the Theatre des Champs-Elysees, both in recital and concerto, Andrei Korobeinikov has recorded a third disk for Mirare, this time accompanied by the Orchestre Symphonique de Lahti and its principal conductor Okko Kamu.

Andrei Korobeinikov offers a rich and inspired interpretation in direct relation to his origins: the USSR and Shostakovich.

The distinguished Russian pianist Vladimir Yurigin-Klevke offers a striking “highlights” view of some outstanding Russian piano music of the 20th Century. Drawing from his brilliant association with the composers on this CD, he offers a revelatory and highly satisfying journey through this colorful piano repertoire. His generous, in-depth booklet notes add to the experience, as he shares with the listener his views on the music’s artistic context.

Vladimir has been closely associated with Russian piano music of the 20th Century since he first came to public attention in 1969. Then just 20 years old, he won first prize at the National Piano Competition of Contemporary Soviet Music, playing the music of the composers on this album. In the 25 years between his “win” and this recording (originally for the Russian Disc Label and re-released here), Vladimir’s insights into this repertoire continued to ripen in many important performances throughout Russia and abroad.

Beginning the program is Gubaidulina‘s stunning Ciaconna — broad, sweeping, large-scale in character. Pärt’s intriguing neoclassical Partita is an early work, reminding us that it was his piano music that first earned him public renown. The idiomatic Shostakovich Preludes offer delicacy, charm, dance and song. The Shchedrin Preludes and Fugues begin with long, elegant melodic lines, and include a “fantastic tarantella.“ Karayev‘s Preludes draw on the composer’s Azerbaijani folk roots and national colorings, mixing in some lively dances and some free improvisational textures.

David Kadouch, aged only 24, is a pianist not to be missed. He was a finalist in the 2009 Leeds Piano Competition and has been nominated as a “Young Talent Revelation” Victoires de la Musique Classique 2010. Only recently, Daniel Barenboim called upon him to replace Lang Lang in Ramallah, Palestine. He is capable of hypersensitive playing and lets the score speak for itself. Live recording.

This CD of Russian music brings together Prokofiev’s extraordinary musical depiction of young romantic love with Shostakovich’s deeply touching musical farewell, written during his final illness. The character of the viola provides a compelling voice for both. Who would have thought that Prokofiev’s huge orchestral score could find such convincing expression in a version for viola and piano? What is lost in orchestral colour is gained through the personal voice and warmth that the viola brings to this much-beloved music. What is more, the piano writing is equally superb and must surely have been influenced by Prokofiev’s own version for solo piano, made in 1937.