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James Harrington
American Record Guide, July 2014

I look forward to completing this marvelous series and couldn’t ask for a more qualified pianist than Koukl. © 2014 American Record Guide Read complete review on American Record Guide

Michael Johnson
Facts & Arts, December 2013

…[this] CD is an easy introduction to the breadth of Tcherepnin’s work, instructive for anyone who might have overlooked him in today’s crowded world of piano music.

The interpreter here is the Czech pianist Giorgio Koukl, who proves himself an able and sensitive master of these forgotten gems.

Tcherepnin was careful in all these 31 disparate pieces to achieve a degree of musical coherence that charms the ear. © 2013 Facts & Arts Read complete review

Steve Arloff
MusicWeb International, September 2013

The superlative standard of both the music and the playing continues to enthral.

As with the previous three discs Giorgio Koukl is the perfect advocate and it is hard to imagine that his interpretations will be surpassed. He inhabits the composer as he plays and it is as if Tcherepnin were playing the works himself.

This is another adorable disc of scintillating music brilliantly played and cannot be praised highly enough. © MusicWeb International Read complete review

David Denton
David's Review Corner, September 2013

The fourth volume of Alexander Tcherepnin’s piano music comes from different parts of a prolific composer life, his name today remembered as a concert pianist. Born in St. Petersburg in 1899, upheavals during in his life took him to Paris in his early years and eventually to the United States in 1948. Having destroyed many of his early works, his portfolio of works still included thirteen numbered piano sonatas and a profusion of shorter pieces. He was by instinct a miniaturist, and we have to take his opus numbers with a degree of caution, Entretiens carrying the number 46, yet there are so many different styles involved that it has to be a collection of pieces over a long period. Some last only seconds, the ninth, and longest, coming from a composer dabbling in atonality. Twelve Preludes seldom exceed two minutes, and though they could each stand alone, they were obviously regarded as a whole and were completed in 1953. There is a host of influences, Prokofiev and Messiaen among the most readily recognisable, yet they are melodically of his own origination. The Four Romances are early works from his twenty-fifth year and reflect that he was now in Paris with something having been passed down from Rimsky-Korsakov, his father’s mentor. Again very short—the disc has thirty-tracks offering fifty-five minutes actual playing time—they are rather more active than their title suggests. The Five Concert Etudes reflect his interest in everything Chinese, including his wife, to whom the work is dedicated. They are delightful in a quaint way. The Czech pianist, Giorgio Koukl, seems to instinctively pace the music, and knows the value of silence. The natural piano sound of this Swiss recording is notable, and I much enjoyed the release. © 2013 David’s Review Corner

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