Nikolai Kapustin: 2+2 4 Kapustin Ludmil Angelov, Daniel Del Pino & Neopercusión

• Nikolai Kapustin (1937): Concert for 2 Pianos & Percussion, Op. 104:
• 1 I. — 09:42
• 2 II. — 06:15
• 3 III. — 05:14
• 8 Concert Etudes, Op. 40:
• 4 No. 1. Prelude 02:01
• 5 No. 2. Reverie 03:39
• 6 No. 3. Toccatina 02:02
• 7 No. 4. Reminiscence 05:04
• 8 No. 5. Shuitka (Raillery) 02:20
• 9 No. 6. Pastoral 02:49
• 10 No. 7. Intermezzo 03:44
• 11 No. 8. Finale 02:35
• Sonata for 2 Pianos, Op. 120 No. 14:
• 12 I. — 04:36
• 13 II. — 06:25
• 14 III. — 03:43
• 15 Paraphrase on Dizzy Gillespie's Manteca, Op. 129 04:07
• Total Runtime 01:04:16

Info zu Nikolai Kapustin: 2+2 4 Kapustin

Anyone who has ever listened to Nikolai Kapustin’s music will undoubtedly remember the distinct impression it left on him and might have wondered: what is this? It is not a matter of aesthetics: You can find Kapustin’s music more or less pleasing, but it leaves no one indifferent. What is the cause of this? First, its extraordinary and spectacular nature that entails a great difficulty for the performer —it is no exaggeration to say that it is the most difficult music to play you can find. Second, its curious jazz improvisation aspect, although everything is perfectly written in the scores. However it is true that, in spite of that jazz appearance, this music seems not to be inspired —at least in most of the cases— by melodies related to the standards that nourish the repertoire of jazz performers. We could say that this one is music that evokes and sounds like jazz because its harmonic language seems like the jazz language... But its eclecticism will lead us to ask ourselves what kind of jazz we associate it to: What jazz pianist’s name will spring to our minds while listening to Kapustin’s piano music? Art Tatum, Oscar Peterson, Chick Corea, Keith Jarrett...? We should not ask ourselves that question because, once again, this is not jazz. If there is something that defines jazz, it is improvisation, and here everything is scrupulously written. On the other hand, it all sounds so fluent and natural all the time that one can be unwilling to believe there is no margin of improvisation, however small and episodic it might be. But there is not any margin, everything is written in detail in the score. …

Daniel del Pino, piano
Ludmil Angelov, piano
Juanjo Guillem, percussion
Rafael Gálvez, percussion

Keine Biografie vorhanden.

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