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Howard Smith
Music & Vision, April 2012

…Gordeladze can now be counted among the finest interpreters of Kapustin’s idiosyncratic work.

Indeed her Naxos CD is a delight, full of constant discoveries; truly original works yet brimful of nineteenth and twentieth century allusions, including (in random order) Gershwin, Peterson, Joplin, Tatum, Antoine Dominique ‘Fats’ Domino Jr, Chopin, J S Bach, Errol Garner, Keith Jarrett, Dave Brubeck, John Field, ‘Fats’ Waller and Alexander Scriabin.

These études and preludes have real substance. Give Kapustin and Gordeladze your undivided attention. © 2012 Music & Vision

Brian Reinhart
MusicWeb International, March 2012

If I had to choose, I’d likely single out the Eight Concert Etudes as my favorite Kapustin: short, snappy works with a lot of range, they offer tune- and virtuosity-laden examples of his art.

The Twenty-Four Preludes in Jazz Style…as piano jazz…would be first-rate, and as classical music it explores the greater freedom of the prelude structure but with the composer’s usual technical rigor. There are undoubted highlights: No 9 is an exquisite slow movement, as unadorned and Gershwin-ish in its melodic warmth as Kapustin has ever gotten; No 19 is a frolicking boogie which brings home its catchy tune in just 80 seconds; No 24 makes a satisfying conclusion, though the composer’s voice is so bright that it does not feel like D minor.

The attention of some major pianists has been turned to this repertoire, and Catherine Gordeladze is a worthy contender.

it’s a testament to Kapustin’s quality as a composer that his music can sustain numerous varied approaches and reveal different characters under different artists’ fingers. If you like one Kapustin piece, you’ll probably like the rest, a testament both to the undeniable sameness of his output and to the consistently high craftsmanship and inspiration. Catherine Gordeladze’s is a new approach with great merit, and I hope it bodes the beginning of a series. © 2012 MusicWeb International Read complete review

Alan Becker
American Record Guide, March 2012

This recording by the Georgian pianist Gordeladze now living in Berlin, confronts performances by the composer and legendary pianists such as Marc-Andre Hamelin and Steven Osborne. Comparison between them is fruitless, since the technical and musical challenges are fully met by all. Since Naxos has little competition when it comes to price, and their entry is superlative in every way, it is a no-brainer for starting with this music. © 2012 American Record Guide Read complete review on American Record Guide

Lynn René Bayley
Fanfare, March 2012

Catherine Gordeladze has her own take on these works, and wow does she swing! In fact, I hate to sound heretical since I am a huge Hamelin fan, but to my ears her performances of the etudes are even jazzier than his.

I just love the way Gordeladze crushes those flatted fourths and fifths, and the way she dive-bombs those descending keyboard glisses. Honey, you make my heart sing! © 2012 Fanfare Read complete review on Fanfare

David Denton
David's Review Corner, December 2011

Born in that part of the Soviet Union which now forms part of the Ukraine, Nikolai Kapustin built his reputation as a jazz pianist, only latterly coming to composition. Born in 1937, he had a formal training at the Moscow Conservatory, and today claims he is a classical composer who has been influenced by the years he spent performing in jazz groups. In recent times he has become highly prolific, his portfolio of works including six piano concertos. In his solo piano music he cites Oscar Paterson as his major influence, the two works on the present disc dating from 1984 and 1988 respectively. The 24 Preludes follow the same key-sequence as that established by Chopin in his work of the same name. Both composers pass through moments of introspection, gentle beauty and brilliant virtuosity… They certainly pose just as many challenges as Chopin or, more recently, Shostakovich, do in their studies—the fourteenth a real finger-twister. Fortunately the disc has the Georgian pianist, Catherine Gordeladze, a ‘classical’ trained pianist and the winner of several international competitions who is totally involved in the Kapustin idiom. I hope the composer enjoys her almost improvisatori approach that rhythmically shifts the music around. My enjoyment comes more from the Eight Concert Etudes where jazz influences are married into, rather than dominate, the music. Here again the fast fingers of Gordeladze set the music alight. Very good sound from a Hessischer Rundfunk studio recording.

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