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James Harrington
American Record Guide, January 2012

We would be fortunate if Ghindin’s inaugural Naxos release is the beginning of a Scriabin series.

One of my greatest compliments to Ghindin is that there is a forward momentum in his rhythms that many other pianists lose in all of the complexities. Changes of mood from Joyeux to Tragique are all skillfully handled by Ghindin. © 2012 American Record Guide Read complete review on American Record Guide online

Jed Distler, October 2011

Alexander Ghindin has…powerful technique, wide dynamic range, and ardent temperament he brings to Russian repertoire, as this Scriabin recital amply bears out. The various Poèmes are massively textured, generously pedaled, and generally quite spacious…

…this is a masterful Scriabin disc, definitely worth checking out.

Blair Sanderson, October 2011

The piano music of Alexander Scriabin is usually divided into three stylistic periods, which are well-represented by the three piano sonatas and short pieces Alexander Ghindin presents on his 2011 Naxos release. Ghindin is a fine interpreter of Scriabin, and his readings bring out the passionate fires and the gloomy mists that swirl around these visionary pieces. Naxos’ sound is clear and fully resonant…

David Denton
David's Review Corner, September 2011

In 1994 the youngest ever laureate in Moscow’s Tchaikovsky Competition, Alexander Ghindin became the 2007 Winner of the Cleveland International Piano Competition. Between the two he has been fashioning a major concert career that has resulted in fifteen recordings and engagements with many of the world’s major orchestras. His Cleveland success resulted in fifty engagements throughout the States and appointments as Artistic Director of festivals in Russia, Belorussia and Sweden. For his Naxos debut he has chosen a Scriabin recital that includes three of the composer’s best known sonatas and five of his Deux Poems. Sample his immense technical expertise in track 13, the second movement of the Fourth sonata, or the gorgeous poetic gentility of the first of the opus 69 Poemes (track 15). His account of the First Sonata is one of the finest have encountered on disc, the clarity of his fingers bringing transparency even to pages black with notes, his reading of the final Funèbre an example of weight without physical keyboard impact. He certainly seems to have an innate sympathy with the composer, the shape and pace of the shorter pieces—which make up the bulk of the disc—so perfectly judged. But he also has the good fortune of a superb recording, and would that all piano discs sounded so natural and unforced.

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