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Steve Arloff
MusicWeb International, August 2013

The excitement and wonder continue. What continues to amaze, delight and fascinate is the breadth of Tcherepnin’s invention. Couple this with the fact that, based on what I have heard, there is never a dull moment in anything he wrote nor any feeling that his material is either wasted or undeveloped.

Grand Piano, a Naxos label, is planning to release the remaining five discs in the series by the middle of 2014. They can’t do so quick enough as far as I’m concerned. Tcherepnin is so beguiling that listening to his music can become truly addictive and having to wait any length of time between ‘fixes’ is hard to do.

This disc has been as thoroughly rewarding as the first two and as before Giorgio Koukl establishes himself as the perfect vehicle through which this superb composer finds a voice that shows his brilliance to the greatest effect. © MusicWeb International Read complete review



David Denton
David's Review Corner, May 2013

One of the most prolific 20th-century composers, Alexander Tcherepnin’s name is today largely remembered as a leading concert pianist. Though born in Russia in 1899, he lived most of his life in France and the United States where he built his career as a performing musician. As a composer he was primarily a miniaturist, his more extended works here constructed from a series of cameos, the thirty-nine tracks lasting in total just sixty minutes. It is the third volume in his complete piano works and delves into his output through most of his mature life from 1920 to 1955 and shows his style of writing changed little, the latest score, the Eight Pieces, being a group of story-tale pictures having influences of Prokofiev in ballet mood. We then go back in time to his twenty-first year where he is distinctly more forward looking in the Feuilles libres, and two years later he was just as adventurous in the aggressive Tempestoso, the third of the four Preludes nostalgiques, the Four Preludes, written at the same time, coming from the same mould. We jump forward sixteen years for the Seven Etudes when we are with the bright young things composing ‘naughty’ music in France during the 1930s. Finally to Expressions described in the booklet notes as a miniature of Mussorgsky’s Pictures at an Exhibition, a comment that would be unjust praise for ten lightweight pieces that children would enjoy. I admire Giorgio Koukl’s dedicated performance of music… Good recorded sound quality… © David’s Review Corner






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9:35:47 AM, 21 October 2014
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