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Classical - Released November 30, 2018 | Mirare

Hi-Res Booklet Distinctions Diapason d'or de l'année - Diapason d'or - Gramophone Editor's Choice - Le Choix de France Musique - Choc de Classica
Through his “brilliance and maturity” (as described by The Guardian) the Russian-Lithuanian pianist Lukas Geniušas has established himself on the international scene as one of the most interesting artists of his generation. He has appeared in London's Wigmore Hall, Amsterdam's Concertgebouw, Milan's Salle Verdi, Moscow's Conservatory and Roque d'Anthéron, and with orchestras such as the Philharmonique de Radio France, the National de Lyon, the NHK of Tokyo, the Saint Petersburg Philharmonic, the Russian National Orchestra, the list goes on... He has chosen here a Prokofiev programme combining early works from his younger years (the Ten Pieces Op. 12 which is a junior work and yet so intimately prokofievian already!) with the work from his first stage of maturity (Second Sonata from 1912) and the work from his full maturity (the Fifth Sonata). Even better, this Fifth Sonata was written "for the first time" in 1923 after his time in Paris, then revised three decades later under the constraint, undoubtedly, of the infamous Jdanov decree which had accused the composer of all anti-Soviet evils, but also due to a very personal concern (he wanted to purify the piano gesture). In a way this work seems almost "Parisian" as it has so many similarities with Poulenc's style. © SM/Qobuz
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Classical - Released September 24, 2013 | DUX

Booklet Distinctions 5 de Diapason
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Solo Piano - Released December 1, 2014 | Piano Classics

Distinctions 4 étoiles Classica
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Classical - Released June 5, 2020 | Mirare

Hi-Res Booklet
Chopin was an absolute master of “small forms” (preludes, ballads, nocturnes, mazurkas, impromptus, études, polonaises), which often overshadowed his larger works such as the three piano sonatas and the sonata for cello and piano which are brilliant but are often criticised for being disparate pieces strung together. Yet, upon closer examination, many musicologists have found that these works are carefully structured and as accomplished as the classical models established by Haydn and Beethoven.In this recital for Mirare, the Russian-Lithuanian pianist Lukas Geniušas has once again set his sights on Chopin after his interpretation of Chopin’s twenty-four Etudes (for Dux Records) in 2013 was highly praised. Two years later, the release of his monographic album dedicated to the Sonata No. 2 in B-flat minor and the Concerto in E minor by the Chopin Institute in Warsaw (Narodowy Instytut Fryderyka Chopin), was once again a success.Having studied at the Moscow Frederic Chopin College of Music Performing, the brilliant young Lukas Geniušas now remains loyal to his favourite composer. He leads up to Sonata No. 3 by playing a mix of eleven Mazurkas, like walking down an impressive avenue of lime trees leading to a stately home. His great technique and remarkable sensitivity allow him to pick up on even the most subtle and delicate details of Chopin’s music. © François Hudry/Qobuz
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Solo Piano - Released October 23, 2015 | Piano Classics

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Classical - Released March 1, 2013 | DUX

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Classical - Released June 5, 2020 | Mirare

Hi-Res Booklet
It's a bit surprising for a young pianist like Lukas Geniušas to release two albums of Chopin in a row, although the fact that Geniušas was a winner of coveted high honors at the Chopin International Competition in Warsaw goes a long way toward explaining it. Geniušas has a confident way with Chopin that does nothing fancy but will leave listeners with the music in their heads. His program falls into two parts, with a group of mazurkas, drawn from various sets, followed by the Piano Sonata No. 3 in B minor, Op. 58, and he both shows an individual personality and lets these very different works speak for themselves. Geniušas' mazurkas are propulsive, pausing at times for lyrical details that gain in impact from being set off, and his tempos are strict enough to emphasize the folk roots of the mazurka, the most Polish of the genres in which Chopin worked. The Piano Sonata No. 3 is as close as Chopin came to really engaging with the tradition of Classical structure, and here Geniušas takes time and brings out the modulations on which the outer movements depend. His playing is clean throughout, and though there is both more expressive and more virtuosic Chopin, there's an X factor of assured charisma here that holds the listener's attention. Clear sound from Mirare, captured at the medium-sized Gustav-Mahler-Saal in Toblach, Italy, is another major draw. © TiVo