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Guy Rickards
International Piano, January 2013

TCHEREPNIN, A.: Piano Music, Vol. 1 (Koukl) GP608
TCHEREPNIN, A.: Piano Music, Vol. 2 (Koukl) GP632

Koukl—fresh from his revelatory recordings for Naxos of Matinů’s complete piano music and concertos—proves himself a most sympathetic advocate for Tcherepnin’s music, whether on a small or large scale. It is instructive to compare his interpretations of the sonatas with the composer’s somewhat wayward ones: Koukl may not achieve the same fury in the First Sonata’s opening Allegro commodo but his pacing and structuring of the movement, while subtly different, is just as convincing; and his playing as a whole, especially in the Second Sonata, is much more precise. The sound...is top-notch. © International Piano




Remy Franck
Pizzicato, December 2012

Fascinatingly Fresh

The Czech pianist Giorgio Koukl plays the programme of this CD with much commitment, very much alive and colourfully, and brings the freshness of Tcherepnin’s music to life. Each individual miniature and each set of the sonata is characteristic in colour, expression and suspense. © 2012 Pizzicato



Steve Arloff
MusicWeb International, June 2012

This is one of those discs that makes me want to shout with delight. Not only is it the piano music of a neglected but brilliant composer but the sub-title Complete Piano Music 1 means there will be more. In fact there will be as many as eight volumes altogether. Hooray!

The disc opens with his 10 Bagatelles, op.5 from 1918, distilled from a much larger number of pieces begun when he was a mere 13 year old, and one of his best known compositions. It comes as no surprise to learn that fact as they are highly inventive and hugely satisfying works possessing a crystalline brilliance accompanied by a propulsive momentum that drives the music forward in a way that becomes almost addictive. They are pieces that stay in the memory for, though I never heard that old disc often and not for many years, I recognised the first two bagatelles as plainly as if I’d only listened to them last week. Years after he had written them Tcherepnin was embarrassed by their success regarding them as juvenile, though he relented later accepting their spontaneity. Artists can sometimes be too self-critical, finding it difficult to accept flashes of genius at an early age. These are certainly examples of that and while you listen just remind yourself that these were composed almost one hundred years ago—unbelievable!

Self criticism takes various forms and often includes destruction of works considered unworthy of publication—thank God that didn’t happen with the bagatelles!—and with Tcherepnin that was the fate of the first twelve of his 13 piano sonatas, written in his early teens. The fourteenth, later renumbered as his piano sonata no.1, is the sole survivor and listening to it you can only imagine what has been lost, with regret. It’s a wonderful piece that is rhythmically inventive and exciting and which reveals a creative talent that is simply mind-boggling for someone so young. The booklet’s authors find some similarities with Prokofiev’s earlier Toccata and describe it as “This distinctly Russian-sounding piece …” I agree with this but also see parallels in Tcherepnin’s compositions with Medtner and aspects of Scriabin, Weinberg and even Shostakovich. With piano compositions of that era from that part of the world there seems to have been an inherent and instinctive prism through which these composers naturally viewed things musical.

The 9 Inventions, op.13 (1921) that appear on this disc as a world première recording are further proof of Tcherepnin’s compositional abilities. They are, like the bagatelles, short, brilliantly scored little gems. The booklet’s authors write that “… it is hard for the listener to escape the self-consciousness of the new compositional technique”. I obviously missed out on that and it makes me realise that sometimes it’s better not to be an expert so that I can enjoy things more easily.

Tcherepnin’s Sonata no.2, op.94 (1961) has an autobiographical aspect. It gives expression to a frightening episode in which Tcherepnin experienced a strange ringing in his ears. This persisted over two years but eventually disappeared of its own accord. I was not able to discern this in the music but enjoyed it for its own sake as yet more marvellous writing for the piano. Again it serves to emphasise his youthful abilities as this mature work did not leave the early works ‘in the cold’ by any means.

The final work on the disc is 10 Études, op.18 (1920) and another world première recording. These etudes are absolutely fabulous little masterpieces (no.8 lasts a mere 35 seconds!) and they round off the disc in a truly emphatic way. When you realise that these works, while they bear the date of publication of 1920, were in fact written when Tcherepnin was a young teenager you just have to marvel. Music seems to be an art-form that very young people seem able to master at an earlier age than just about any other. It would be staggering to come upon a novel or a painting, sculpture or a play created by anyone as young. On the rare occasions when it does happen we find it just that. In music it happens much more often. I thought of this only yesterday when I heard the string sextet written by the 11 year old Max Bruch.

This disc is a simply brilliant introduction to anyone who hasn’t come across Tcherepnin before and who loves 20th century piano music. The works are played superbly by Giorgio Koukl who has already recorded all of Martinů’s piano works to great acclaim. A wonderful disc altogether! © 2012 MusicWeb International Read complete review



David Denton
David's Review Corner, May 2012

Today the name of Alexander Tcherepnin is largely remembered by his orchestral music, though he was primarily a concert pianist of renown. Born in St. Petersburg in 1899 to a musical family, the political upheavals in Russia eventually found them living in Paris where the young Alexander completed his studies at the Conservatoire. By then he had composed a vast amount of piano music including thirteen piano sonatas. Much was for his own use, its technical demands pointing to a virtuosity that provided a busy career on both sides of the Atlantic. The present disc concentrates on his younger years, between 1918 and 1921, when his style was melodic and strictly in the lineage of the Romantic era. They are intended to bring uncomplicated pleasure to the listener, at times with more than a hint of Prokofiev’s influence. The charming Bagatelles have already had an outing on Naxos, but the Inventions and Etudes are world premiere recordings. The First Sonata was the fourteenth work in that genre that he had composed, the earlier ones all discarded. As with the other works, they are created from cameos many shorter than two minutes, and in the case of the Inventions none exceed a minute. The disc is completed by the Second Sonata that came forty-three years after the first, by which time he had moved closer to atonality, its rather strange harmonies coming as a reflection of the high pitched ringing sound that afflicted him for two and a half years. The disc appears to be the first in a complete cycle of Tcherepnin piano works, and I hope it remains with the Czech-born Giorgio Koukl, who I much enjoyed in his recording of Martinů’s Piano Concertos. Impeccably clear; nimble in the fast pieces, and recorded in his newly adopted home country of Switzerland. © 2012 David’s Review Corner






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10:24:59 PM, 18 April 2015
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