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Wydawnictwo: Bis
Nr katalogowy: BISSACD 1788
Nośnik: 1 SACD
Data wydania: maj 2010
EAN: 7318599917887
na zamówienie
Nasze kategorie wyszukiwania

Epoka muzyczna: klasycyzm
Obszar (język): niemiecki
Instrumenty: fortepian

SACDHybrydowy format płyty umożliwia odtwarzanie w napędach CD!

Haydn: Yevgeny Sudbin plays Haydn

Bis - BISSACD 1788
Yevgeny Sudbin, piano
Nagrody i rekomendacje
Music Island CD of the Month
Sonata No.47 in B minor, Hob.XVI:32
Sonata No.60 in C major, Hob. XVI:50
Sonata No.53 in E minor, Hob.XVI:34
Fantasia in C major, ob.XVII:4
Andante con variazioni in F minor, Hob.XVII:6
The release in 2005 of Yevgeny Sudbin’s first disc, a selection of Scarlatti sonatas, caused a sensation. A number of reviewers compared it favourably to the legendary recordings by Horowitz in the same repertoire, and on the BBC Radio 3 CD Review, the result was described as follows: ‘It's as if he's dragged Scarlatti off a dusty museum shelf and brought him out into the sunshine where both he and the music are happily basking.’ Sudbin’s following discs focussed on Russian composers from later periods – Rachmaninov, Medtner, Tchaikovsky and Scriabin – and received similar acclaim in the international music press. He now returns to the 18th century of Scarlatti, however, and to a composer who holds a similar place in his affections, namely Joseph Haydn. As Sudbin writes in his liner notes, one of the qualities in this composer which he finds particularly endearing is Haydn’s ‘delight in silliness, outrageous wit and the breaking of all conventions’. The works chosen for this recital are by no means mere light-weight ‘musical jokes’, however; for instance they include the profoundly beautiful Andante con variazioni in F minor, which some have suggested was written in response to the death of Mozart. And as Sudbin himself acknowledges, musical jokes are easier to tell than to play; to use stand-up comedy tricks during a ‘serious’ recital risks turning it ‘into a sit-down tragedy’. Any joking is therefore strictly within the musical parameters – but that being said, Sudbin does enjoy himself in Haydn, and encourages his audiences to do likewise: ‘The odd carefully timed pianissimo chuckle is definitely among the less irritating noises you get in a concert hall’. In an affectionate tribute to the composer, Sudbin ends his recital with Larking with Haydn, his own tongue-in-cheek arrangement of the Finale of the Lark Quartet

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