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Daniel Morrison
Fanfare, November 2016

This recording offers stunningly vivid and realistic piano sound, with spaciousness, clarity, and a strong bass presence, albeit with occasional touches of ringing. The Mosolov works on this set are a reminder of the richness and variety of Russian music in the 20th century, …Superbly performed and recorded, they make a strong case for this innovative and unjustly neglected figure of the repressed Soviet avant-garde. © 2016 Fanfare Read complete review




Bertrand Boissard
Diapason, September 2016

The Russian pianist [Olga Andryushchenko] possesses not only the necessary technical resources to this demanding music, but also the physical engagement and the sense of mystery. © 2016 Diapason



James Harrington
American Record Guide, September 2016

We should all be grateful to a brilliant pianist like Andryushchenko for making the huge effort to learn these brutally difficult works and giving them a chance to be heard. © 2016 American Record Guide Read complete review on American Record Guide



Richard Kraus
MusicWeb International, June 2016

Andryushchenko’s playing is often dazzling, and she draws an astonishing array of sounds from her Steinway.

This is another fine Grand Piano project, with a smart musician performing undeservedly obscure music in fine-sounding recordings. Mosolov will never be for everyone, he is for someone, and you probably know who you are. © 2016 MusicWeb International Read complete review




Michel Fleury
Classica, June 2016

Olga Andryushchenko proposes the first true complete collection of these works. She adds a kind of flexibility to her indispensable fingers of steel, which allows her to deliver extreme contrasts of tempo and dynamic. © 2016 Classica



Bruce Reader
The Classical Reviewer, May 2016

These are outstanding performances from Olga Andryushchenko of works that deserve to be heard. The sonatas, in particular, are impressive and, though Scriabin’s spirit runs through much of these compositions they are fine works in their own right. © 2016 The Classical Reviewer Read complete review



David Denton
David's Review Corner, April 2016

The history of music is full of sadness, and that certainly includes the life of the Russian composer, Alexander Mosolov, who seemed destined to greatness. Born in Kiev in 1900 he enjoyed an affluent and cosmopolitan life with his mother as a famous opera singer, and was eventually to study composition at the Moscow Conservatoire with Gliere and Myaskovsky as his mentors. He became a member of Russia’s avant garde that embraced all that was modern, his hard-hitting 1927 orchestral score, The Iron Foundry, signalling a major figure among European composers. Ten years later, with Russia in the grip of the Stalin regime, he was arrested for ‘counter-revolutionary activities’ resulting in an eight-year prison sentence. He was somehow ‘rescued’ after eighteen months, but he was a broken man who henceforward wrote third-rate trivia to keep in favour with the ‘authorities’. The present pair of discs gathers together all he wrote for solo piano, and dates from the 1920’s when he was composing in a ‘free’ society, and would show a composer caught up in the brutality Stravinsky originated in The Rite of Spring. It would be easy to describe the First Sonata as atonal, though I guess atonalists would disown it, while the Second, subtitled ‘From Old Notebooks’, looks back to the world of Scriabin with sumptuous harmonies mixing with clashing chords, the rhythms of the finale being pure Rite of Spring. The score of the Third was stolen and never found; the short Fourth toys with post-Impressionism, while the Fifth is in four highly contrasted movements, but shot-through by sadness, particularly so the Elegia. Turkmenian Nights has a nod towards folk music, but dressed in Mosolov’s hard-hitting vocabulary. That he could write in an immediately attractive and melodic style surfaces in several short works—Nocturnes, Small Pieces and Dances. The young Russian-born German-based Olga Andryushchenko, copes exceedingly well with such challenging and energy-sapping music, and I complement her on championing the composer. It does seem that in the four days of recording the reverberation changed, but it is always of an acceptable quality. © 2016 David’s Review Corner





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