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Steve Arloff
MusicWeb International, December 2014

TCHEREPNIN, A.: Piano Music, Vol. 6 (Koukl) GP651
TCHEREPNIN, A.: Piano Music, Vol. 7 (Koukl) GP658
TCHEREPNIN, A.: Piano Music, Vol. 8 (Koukl) GP659

My…selection is of three of the eight discs of the series comprising the complete solo piano music by Alexander Tcherepnin, again a composer that I knew of but only for a single work from his solo piano works. I have been privileged to have been able to review all 8 of them and have been truly overwhelmed by the sheer inventiveness he displayed in his writing. From delightful childlike pieces to full blown turbulence to pieces that display nostalgia and regret, it has been one of the most satisfying musical journeys I’ve ever been on. © 2014 MusicWeb International Read complete review

Steve Arloff
MusicWeb International, June 2014

This series has shown the huge range of piano works that Tcherepnin produced. For me there is never a dull moment and with each additional listening one discovers more layers.

As has been the case in all the previous volumes this one continues to demonstrate the ability of Giorgio Koukl to extract every last nuance from the music and faithfully to serve the composer by showing him in the best possible light. The range of colours that he brings to the music is quite simply dazzling and I await Volume 7 with great anticipation. © 2014 MusicWeb International Read complete review

David Denton
David's Review Corner, April 2014

We have now reached volume six in the complete piano works by one of the most prolific of the 20th century Russian-born composers, Alexander Tcherepnin. As a composer his more extended works were constructed from groups of cameos, the twenty-two tracks on the disc ending somewhat short of sixty minutes, and in time span goes through much of his life. Doing yeoman service in promoting the composer, Giorgio Koukl’s admirable technique is well able to cope with the more hectic passages, and his playing has charming delicacy elsewhere. Good recorded sound quality. © 2014 David’s Review Center

Michel Fleury

Brilliantly utilizing the full extent of the piano’s capabilities, this music is not simply “pianist’s music.” Exotic scales and modal passages, “rhythmic counterpoint” (the famous “interpoint” invented and coined by the composer himself), agile and inventive polyphony, the relentless vein of Slavic melodies, combine to build an entirely resonant private  world. The influence of Mussorgsky, Prokofiev and Stravinsky appear frequently, but layered over this throwback to Russian musical influences is an elegance and panache that is uniquely Parisian, like the sheen of lacquer on a Russian box, an enduring reminder of what France meant for this citizen of the world.

Like his three compatriots, he excels in finding the most appropriate musical equivalent of a being, an act or a situation, and this capacity to sketch something musically is enhanced by a dazzling wit. The interpreter of this music emerges as a juggler of ivory, the glass animals in a display cabinet are the pretext of musical tales designed upon the sketches of these figures, recounting their differences with a dazzling wit, a pen whose virtuosity recalls the flamboyancy of Petrushka.

How can one resist the melodious chirping of Chant, contrasting with the contrapuntal and rhythmic abundance of his Refrain (an absolute masterpiece), the religious hymns or the folk songs (the unforgettable Volga Boatmen), the cowbells in remembrance of Mussorgsky with the presentiment of Messiaen.

Giorgio Koukl pairs a solid robustness to a palette of rich and subtle timbres; well supported by dexterous fingers, there are clues from the outset of his pianistic fireworks, after the less exciting works contained in the previous volume of Tcherepnin’s keyboard works. © 2014 Classica

Translated from French by Naxos

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3:45:40 AM, 2 December 2015
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