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Grego Applegate Edwards
Gapplegate Classical-Modern Music Review, April 2016

…Boris shows a lyrical and at times bitter-sweet character that fits him in with much of the modern Russian school, though there is nothing that shouts imitation at you.

There is plenty of good music to be heard here, enough to please anyone with a penchant for Shostakovich and Prokofiev et al who would be open to a worthy example of some other composers who did good work last century.

Definitely recommended. © 2016 Gapplegate Classical-Modern Music Review Read complete review



David Denton
David's Review Corner, March 2016

Boris Tchaikovsky was one of the leading Russian composers of the 20th century, this disc gathering together piano and chamber music mostly from his childhood. Born in 1925, he was highly productive over a wide range of music, but he is today mainly remembered for an orchestral output that contained four symphonies and many concertos. He was not a musical child of Communism, though at the same time his works did not ruffle the officialdom that could destroy careers, largely remaining in the world of tonality and melodic constructions. That in a way did not help his music outside of the Soviet Union, commercialism in the West preferring those who rebelled with Shostakovich at the helm. He had been a prodigiously gifted child, this disc beginning in his tenth year with the Five Pieces for Piano and the first of the Etudes. They are short—some only lasting a few seconds—and are derivative of the pleasing music of the latter part of the 19th century, the Chopin inspired Mazurka particularly charming. A year later and we have the slightly longer Five Preludes with harmonies that are more daring, his own technique as a pianist shown in the whirlwind second prelude. We move forward two years for the Five Pieces and in that short period of time there is an added sophistication to the textures, with The Fairy Tale a gorgeous cameo by any standard. There is a gap of seven years to the Three Pieces, though stylistically things had not greatly changed, the music remaining fresh and very listener friendly. Further to his mature years for a somewhat spiky and totally enjoyable Sonata for Two Pianos, and a Violin Sonata that I find rather meandering, though I would probably have had a more favourable view of the work if the recording had not been so piano orientated. The credits on the front insert strangely give top billing to Olga Solovieva, though it is the admirable Dmitry Korostelyov who plays majority of the disc. Highly enjoyable. © 2016 David’s Review Corner





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