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Jed Distler
ClassicsToday.com, July 2016

Mikael Ayrapetyan’s assured technique and natural flair for his countryman’s aesthetic result in performances that effortlessly fuse poetic nuance and high-octane virtuosity. …Well worth hearing. © 2016 ClassicsToday.com Read complete review



Jack Sullivan
American Record Guide, May 2015

Mikael Ayrapetyan…gives these often difficult pieces the virtuoso treatment, yet is always mindful of the music’s basic lyrical impulse. In 4, a deeply affecting work dedicated to the composer’s mother, the melody is encased in the middle of a rich texture, and he brings it out wonderfully. The Moscow recording has warmth and plenty of heft. This is a world premiere recording, making it historic as well as attractive. Grand Piano’s goal, to present obscure but worthy piano music, is again superbly realized. Please keep these discs coming! © 2015 American Record Guide Read complete review on American Record Guide



Henry Fogel
Fanfare, January 2015

These may not be as challenging on so many levels for the listener in the way that Bach’s or even Shostakovich’s preludes are, but this is a highly engaging and inventive set of pieces, at times brilliant in its virtuosic demands, at times lyrically beautiful, at times dramatic, and at times clearly reflective of folk music origins. The consistency of Abramian’s inventiveness keeps one engaged throughout the hour.

The committed, lively, and accomplished playing of Mikael Ayrapetyan is one more asset. © 2015 Fanfare Read complete review



Steve Arloff
MusicWeb International, September 2014

…these lovely preludes are a brilliant introduction and any lover of piano music will find this CD a thoroughly rewarding experience. Mikael Ayrapetyan plays all of it with due reverence for his compatriot’s music… © 2014 MusicWeb International Read complete review



David Denton
David's Review Corner, September 2014

Never seeking to gain international recognition as a composer, the Armenian-born Eduard Abramian was one of his nation’s most distinguished pianists and teachers. The idea of composing a score in all twenty-four major and minor key signatures dates back to Bach, with Chopin and Rachmaninov being among the most notable since then. In the case of Abramian they seem to have been composed out of his desire to write a number pieces in contrasting moods, and, maybe by accident, he repeated some keys and omitted others. Begun in 1951 and completed seven years later, they form a highly attractive work lasting over the hour, and should prove extremely attractive to pianists. Written in a formal tonality, they are often technically demanding, particularly in the Sixth and Nineteenth, while many have influences of French Impressionism and Prokofiev’s brittleness in the Twenty-third. For my part I particularly enjoy him in the tender and lyric moments that we first hear in the Ninth. I don’t suppose they could hope for a more brilliant and generous advocacy than this from the Armenian pianist, Mikael Ayrapetyan. He is superb in his dexterity and red-blooded in the outgoing Preludes, and I hope we will hear him recording in a wide ranging spectrum of music. The Moscow recording is in the premiere league. © 2014 David’s Review Corner





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