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Michel Fleury
Classica, July 2013

Giorgio Koukl, true master of contrasting and powerful playing, delivers these muscled works with ease and nature and signs a reference straight away © Classica

James Harrington
American Record Guide, May 2013

Koukl’s second volume is quite good, with an impressive 18 tracks…His first volume…got a mixed review in these pages, more for the quality of the music than for Koukl’s playing—certainly nothing that would keep me away from it. In fact, given the current disc, I would like to hear that first volume very much. © 2013 American Record Guide Read complete review on American Record Guide

Steve Arloff
MusicWeb International, January 2013

With the release of this volume 2 the frisson of excitement continues apace with no fewer than eight of the ten works here being world premières.

Much of the music is a white knuckle ride of almost jaw dropping proportions as a listen to the Toccata No.1, Op.1 will confirm. The Pièces sans titres are youthful compositions as was the Sonatine Romantique and are real gems. In fact much of this music was written when Tcherepnin was a youth which makes it all the more remarkable. It is amazing to bear this in mind when listening to the manic Dance No.1, Op.2, No.2 from 1919 which has a whiff of Liszt’s Mephisto Waltz about it. The Scherzo, Op.3 dates from 1917 and is another highly rhythmic and exciting work. The final offering and another world première is Message which was written in 1926. It is one of Tcherepnin’s longest solo piano works at almost ten minutes and as the booklet writers observe could contain a message. It is also true that, as the booklet states, this is music for serious listeners. You cannot allow you [sic] mind to wander if you are to appreciate the complex “interplay of the various elements” ending with the unusual addition of three sharp raps on the body of the piano.

Getting to know more of Tcherepnin’s brilliant and wonderful music has been one of the highlights of my musical year and I cannot wait for further releases. As with Volume 1 Giorgio Koukl’s playing is phenomenal and it needs to be to allow a full appreciation of this music. This disc was a truly superb listening experience. © 2013 MusicWeb International Read complete review

Tim Parry
BBC Music Magazine, January 2013

Focusing on Tcherepnin’s early years, this volume contains some super music. The performances are committed and energetic. © BBC Music Magazine

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 top-notch. © International Piano

David Denton
David's Review Corner, December 2012

Though Alexander Tcherepnin was a highly prolific composer, his name today is largely remember as one of the 20th century’s leading concert pianists. He had been born in St. Petersburg in 1899, political upheavals through his long life taking him to spend his early years in Paris, later moving to the United States. Much of his compositions involved the piano and included thirteen numbered sonatas, having already destroyed almost an equal number of earlier scores. Essentially a miniaturist, his more extended scores are constructed from a number of shorter pieces or movements, some lasting under a minute. The present disc concentrates on his younger period, starting out as a teenager, and covers from opus 1 to 8, many receiving their first recording. The Sonatine Romantique, from his eighteenth year, is a short piece of finger dexterity, and though in a late romantic mood, it shows an individual voice, the final movement being very ear-catching. The Petite Suite, a series of six short pictures, opens with a March and ends in the charm of a busy Humoresque, having passed through a Scherzo that Prokofiev would have been delighted to compose. The Pieces sans titres (Pieces without titles) offer passing pleasures but are wanting in melodic material, while the Toccata belongs to five short pieces that end the disc, the two Dances being virtuoso showpieces carrying influences of Liszt. The one ‘oddity’ is the atonality he introduces in Message written when he was twenty-six, and at almost ten minutes is among his longest single movement for keyboard. This is the second disc in the first complete cycle of Tcherepnin’s piano works, and I repeat my previous comments on the impeccable clarity of Giorgio Koukl’s playing and the beautiful natural piano sound of this Swiss recording that I much enjoyed in the first release.

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