Piano

Dying too soon in July 2020, Nikolai Kapustinas was like a UFO in the Russian musical landscape of the 20th and 21st centuries. Classical? Jazz? It is difficult to attribute his music to a precise genre as the symbiosis between the two styles is so perfect. For his part, the composer has chosen his side: "I was never a jazz musician. I never tried to be a real jazz pianist, but I had to do it because of the composing. I'm not interested in improvisation – and what is a jazz musician without improvisation?  All my improvisations are written, of course, and they become much better; it improves them.” These words perhaps best sum up one's feelings when listening to Kapustin's compositions. These are resolutely classical scores, as revealed by their titles, "Concert Etudes", "Sonatine" and "Sonate", but from them emerge harmonies, rhythms and a lexicon that are definitely related to the world of jazz.Although reluctant to perform his works in public, the composer has nevertheless recorded a substantial part of them. This indubitably explains the small number of performers who dare to measure themselves against the works of the Russian master, so captivating were his interpretations in their perfectly mastered virtuosity. Almost a year to the day after Kapustin's death, Yeol Eum Son presents here some choice pieces: among them, the unmissable 8 Etudes de concert, Op. 40, and the Sonate pour piano n° 2, Op. 54. The South Korean pianist, silver medallist at the 2011 Tchaikovsky competition and accustomed to orchestral repertoires, gives a generous amplitude, depth and groove to these pieces, whereas Kapustin had accustomed us to dazzling interpretations achieved at a single stroke. Yeol Eom Son's playing shows how much Kapustin's compositions follow the lineage of the greatest masters, from the Romantic period to Gershwin, and that they have their rightful place in the concert repertoire. © Pierre Lamy / Qobuz 

Para su nuevo recital en el sello Decca, Benjamin Grosvenor ha elegido a Franz Liszt, cuya música le sigue desde su infancia gracias a la iniciación de su abuelo. Construido en torno al monumento pianístico que es la Sonata en si menor, el programa del pianista inglés pretende dar testimonio de los diversos aspectos que subyacen a la creación del compositor húngaro, con composiciones emblemáticas (Tres Sonetos de Petrarca), originales (Berceuse), así como con el extraordinario poder de recreación que Liszt destilaba en sus paráfrasis; aquí encontramos las Reminiscencias de Norma según Bellini y su arreglo del Ave María de Schubert.Cada concierto y grabación de Grosvenor es muy esperado y deseado, tan rica es su personalidad y extraordinaria su maestría pianística. Su reciente álbum dedicado a los Conciertos de Frédéric Chopin ha confirmado la preeminencia de este pianista en medio de un mar de versiones disponibles en el mercado.Su visión de la famosa Sonata de Liszt se sitúa inmediatamente entre las más inspiradas. Como un ave de rapiña, Grosvenor sabe esperar el momento justo para abalanzarse sobre los acordes con una precisión diabólica y una rabia contenida, inmerso en una tensión dramática mefistofélica. Al mismo tiempo, la fluidez de su piano abre la puerta al siglo XX y, en particular, al mundo de Ravel, tan dependiente del mundo de Liszt. Se sabe que Brahms se quedó dormido cuando Liszt le tocó su Sonata después de una cena probablemente bien regada… Nada es obvio en esta poderosa evocación de la vida y la muerte. ¡Magistral! © François Hudry/Qobuz

Recorded 2020 Salle Molière, Palais de Bondy, Lyon (France)

Recorded 2015, Strasbourg, Festival Musica (live) : October 4, 2014 [Graphein] - September 24, 2015 [Corps] - October 28, 2016 [Action painting]