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Charpentier screams quality.

Sudbin plays Scriabin

Surprise of the month. English Coronation, magnificent achievement.

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We are currently offering in excess of 52, reviews. Donate and keep us afloat. Nimbus Podcast. Follow us on Twitter. Some items to consider Yes we are selling Acte Prealable again! The first sonatas, numbers One to Four, as well as the Fantaisie Op. These first four sonatas are all multi-movement ones, whereas their six successors are all highly concentrated single movement works.

Hamelin resists any notion that these earlier works are in any sense less important, and they are treated to the same preparation and high commitment as their successors. Certainly he must have come to the recording sessions with the notes of all twelve works in his mind and fingers, since they exhibit formidable accuracy, often at daring tempi. It might seem paradoxical, but exhaustive preparation must have been needed to produce such spontaneous-sounding versions as these. These statements are often dismissed as so much hot air, but they meant something to Scriabin, and his music would surely not be the same without the extra-musical ideas that inform it.

We expect a huge cheer at the end — which is not there — but you might find yourself supplying it in the privacy of your own home when confronted with playing like this. The second disc has one-movement sonatas Five to Ten plus the early unpublished Sonate-Fantaisie in G sharp minor of The Fifth sonata opens ferociously with loud thunder in the bass, instantly yielding to slow soft musings — Hamelin revels in these great and sudden contrasts, pointing them up quite unapologetically. Yet still the piece is held together, in part by a sense of intense concentration.

Alexander Scriabin (1872-1915) & Soyeon Kate Lee

If, as here, the composer writes Impetuoso. Con Stravaganza — Languido then that is what we are given. The shift between the dramatic to the soft and pensive is handled beautifully. There is no lack of emotion from either end of the spectrum. She is only twenty-two years old, making her debut CD all the more incredible. Helmut Burk did an outstanding job as the Recording Engineer to allow us a chance to hear every note from the most subtle, to the demanding aggressive passages pounded on the keyboard. The more you listen to it the more wonderful pieces become stunning, and amazing pieces become breath-taking.

Yuja Wang is young, and typically we could expect her to improve in the years to come. This may be the most eagerly anticipated debut album by a classical pianist in a generation. Wang produces a minute detonation of dazzling finger work, brilliant sprints across the keyboard undergirded by seismic bass lines.

Her energy, power and stamina are awesome; so is her firm grasp of music that could easily spin out of control, especially at the speedy tempos she takes. But this is more than a collection of finger-busters. Wang gets that, too, phrasing lyrically and airing out phrases with silences in which the imagination has room to play. The Scriabin and Ligeti selections stand out. Wang grasps the full measure of Scriabin's over-the-top rhetoric and lush textures, and flawlessly aligns Ligeti's chattering asymmetrical patterns so that each color, each balance, and each accent occurs precisely as the pianist wishes.

Wang obviously is a thinking virtuoso with tremendous potential, and I look forward to hearing more of her work. Gyorgy Ligeti's fleet study runs continuous melodic interference on an obsessive scalar pattern, eventually bringing it to earth. Yuja Wang, a young Calgary pianist, uses the piece as an interlude between meaty sonatas by Chopin, Liszt, Scriabin, on her impressive debut for Deutsche Grammophon. Chinese pianist Yuja Wang should win a prize for an intelligent and eclectic CD recital program. It is a real accomplishment to interpret the eight and one-half minute piece for its original beauty rather than parody.

But Wang shows her mettle most in three sections of the notoriously mindbending Franz Liszt Sonata in b minor. She sounds like she has five hands at times. Wang has all of the technique in the world and oozes mature and intense interpretations. She tours often and actually broke into the concert scene mainly by filling in for ailing pianists, winning acclaim the originally scheduled pianists would envy.

Wang is big time now.

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And she's only Music lovers attuned to the extraordinary rise of the young Chinese-born pianist Yuja Wang -- which includes many of us in the Bay Area, where she's made a number of stunning concert appearances -- have been waiting expectantly for her debut recording. It arrives this week, and it fully lives up to her remarkable promise. The repertoire is mostly conventional, with only a pair of Ligeti etudes to punctuate sonatas by Chopin, Scriabin and Liszt, yet the execution is anything but.

Wang's playing combines a dazzling level of technical virtuosity with emotional and melodic grace, so that Chopin's Sonata No. The Liszt Sonata is the high point, in a reading that fuses blistering passagework with an expressive urgency that is almost embarrassingly heartfelt. Wang also includes two of the hardest Ligeti Etudes including the superhuman "Sorcerer's Apprentice" and knocks them off with casual precision.

The programming of this disc is inspired, as is. Her pianism is staggering, and she uses her technique to project the trajectory of the music inexorably onwards in all four movements. The Scherzo is relentless, so much so that Wang does not have to over-relax and distort the Trio to provide the necessary contrast. And yet she can imbue moments of the third movement with a tenderness.

Wang gives one of the most volatile of readings, the music threatening to explode at any second. The 'Scorcere's Apprentice' Etude is again technically assured. Her reading, while not shying away for a moment from the technical challenges, evokes whole worlds, with the reflective sections clearly seeming to prefigure Scriabin.

Wang's exquisite tone in the quiet, higher-lying passages is certainly compensatory, and her full-toned way with block chords is remarkable.

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SCRIABIN, A.: Piano Music, Vol. 1 - Sonata Fantasie / Impromptus / Nocturnes (Soyeon Kate Lee)

At the age of 22, Yuja Wang has already reached a level of pianistic and musical sophistication matched by very few of her contemporaries. In a cannily selected programme for her recording debut, Wang reveals an abundance of admirable qualities. Among them is an instinctive feeling for piano sonorities. She takes a clear delight in the colours of the piano, but always with a logical musical purpose in mind.

One example is the first movement of the Scriabin Sonata, where she captures the rippling, iridescent right-hand figurations to perfection. Another is the limpid singing tone with which she shapes the middle section of Chopin's Funeral March, not to overlook her uncanny control of pianissimo in the tricky figurations of the 'wind over the graves' finale. More, please! June Yuja Wang is one hell of a pianist. I urge you to hear this disc. Unquestionably, Yuja Wang is a pianist to watch.

It's hard to believe that such a fragile-looking young year-old woman has the stamina and power to play like this.

  • Sonata No. 2 in G-sharp minor, Op. 19 (Alexander Scriabin).
  • Sonate-Fantaisie (1886).
  • HAUNT (a modern christmas ghost story).
  • Alexander Scriabin.
  • My Gift To America.
  • Colored Sand.

The highlight of her stunningly recorded disc is an outstanding version of Liszt's Sonata, the final pages of which are almost as electrifying as Horowitz's famous recording. The chordal progressions unfold with stately grandeur in the Funeral March. Wang plays the Scriabin with improvisatory flair and brooding passion. Wang combines impressive virtuosity with a singing touch.

That last performance is especially dazzling, the multiple voices emerging with crystalline clarity over shimmering torrents of notes. A young Chinese pianist makes Chopin shine. The highlight is a passionate performance of Chopin's Piano Sonata No. I'm thrilled, first of all because she's so good. Yuja Wang delights in showing she can play very softly, and renders whenever possible everything in subtle pastel shades.

This fragile-looking little butterfly. On this evidence, she is already a mature artist. She has a big technique, an even bigger talent, big vision, a big personality. This debut disc is in many ways a sensational achievement. The Liszt has many striking and moving things. Particularly fine is the Scriabin.

It's one sign of her talent and imagination that it's inclusion and positioning of these two hugely different works that make this unforgettable recital work at all.