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Rob Barnett
MusicWeb International, February 2014

It is all played and recorded with close and calmingly fervent engagement. Silvestrov’s surprising but pleasing commitment is to a vocabulary chronologically distant from the predominance of the twentieth century, let alone the twenty-first.

Silvestrov seems well served by Elisaveta Blumina…

The useful programme note is by Tatjana Frumkis. © 2014 MusicWeb International Read complete review

Grant Chu Covell
La Folia, November 2013

Blumina plays liquidly, keeping much of the irony to herself. However, for Der Bote, a strange Mozartian exhalation, Blumina takes the plunge. When the music is explicitly contorted as in the Four Pieces with their wrong-key after-effects, she is equal to the challenge. Where others might dwell on the strangeness or sentimentality, the pianist starts from convention. The Op 153 waltzes with stunted bittersweet melodies, dedicated to Blumina, receive their premiere recordings. © 2013 La Folia Read complete review

Scott Noriega
Fanfare, September 2013

Der Bote…[is] performed exquisitely here by Elisaveta Blumina…

The other smaller works are no less intriguing nor less beguiling in these performances…they are enchantingly played: The pianist takes nothing for granted, every nuance carefully captured, yet never over-calculated in effect; there is always a lovely naturalness to her playing, a wonderful sense of ebb and flow. Throughout the entire recital Blumina proves an inspired guide in Silvestrov’s highly personal and highly evocative sound world. © 2013 Fanfare Read complete review

Bertrand Boissard
Diapason, July 2013

To keep fresh the attention without any virtuosic or extroverted work bears witness of an extraordinary talent. Let’s go with Elisaveta Blumina into this time machine and follow her in this arousing invitation to dream © Diapason

Richard Whitehouse
International Record Review, July 2013

Blumina…renders all with unerring poise, making this disc now the preferred option by which to encounter the piano music of a composer whose thinking transcends time and place in equal measure. Both recording and annotations are on a par with the best from the Grand Piano series. © International Record Review

Grego Applegate Edwards
Gapplegate Classical-Modern Music Review, May 2013

It’s a beautiful lyric set of works, given a supremely sympathetic performance that enters deeply into the world of the music.

Performance, music and production are of the highest levels. The music is so pleasingly engaging that it will appeal to just about everyone if they give it a chance.

A most unusual disk and quite beautiful! © 2013 Gapplegate Classical-Modern Music Review Read complete review

Norman Lebrecht
Sinfini Music, April 2013

Norman Lebrecht Album of the Week

Elisaveta Blumina…delivers Silvestrov’s music with marbled enigmatic serenity, much as Tatiana Nikolayeva did when she played the Bach-like preludes and fugues written by Dmitri Shostakovich in darker times. There may be secrets in this neo-classical revival a for John Le Carré to decode. © Sinfini Music Read complete review

Tom Huizenga
National Public Radio, April 2013

Music We Love Now: Three Must-Hear Piano Albums by Deceptive Cadence

Pianist Elisaveta Blumina’s enjoyable new album sports several world premiere recordings, including Naïve Music, a set of seven short pieces Silvestrov wrote in the 1950s and revised 40 years later. “Idyll” unfolds innocently in sunny arppegios, hovering over a simple tune until a counter melody takes over and the cycle gently restarts. © National Public Radio

David Denton
David's Review Corner, April 2013

Valentin Sil’vestrov has described the disc as ‘seventy minutes happiness set against a thousand years of misery’. Born in the Ukraine in 1937, when it was part of the Soviet Union, he was a pupil of Lyatosyns’ky at the Kiev Conservatory, becoming influenced in his younger years by Shostakovich. He moved to serialism in the 1960’s, and has since built a large portfolio of works in most genre, his piano music  - from solo to large-scale compositions for piano and orchestra - playing a very important role. The present disc concentrates on his Indian Summer, for at the age of fifty-six he returned to sketches he had made almost forty years earlier, at a time when, as a pianist, he had become fond of cameo pieces. Selecting six, with titles such as Fairy Tale, Idyll and Waltz, he built the substantial Naive Musik. There is Brahms, Chopin and Liadov embedded in the music, as each short movement builds to a work not far short of half and hour. Der Bot (The Messenger) is Sil’vestrov looking back at Schubert writing a piece in the style of Mozart. The Two Waltzes dedicated to the disc’s pianist, Elisaveta Blumina, date from 2009 and turn the clock back almost a hundred and fifty years for its inspiration, and that would equally describe the Four Pieces and Two Bagatelles. We return to 1977 for Kitschmusik, not a pastiche work, but bordering on that title. For those who have yet to come to grips with contemporary music, this will be a most delightful and welcome release, Played by a Sil’vestrov champion, Blumina was a Russian prodigy pianist that in adult life has become a concerto soloist much in demand around the world. Very good German recording. © David’s Review Corner

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