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Richard Hanlon
MusicWeb International, October 2017

…Ms Andryushchenko is a compelling player and an illuminating guide to all of this music, she is vividly recorded and she offers a somewhat different approach in this repertoire…and largely because it has no real performing tradition to speak of, I have found her accounts just as riveting as those by her more celebrated rival.

…Roslavets’ work is appealing on a number of levels and you will find much to enjoy on this terrific pair of discs. © 2017 MusicWeb International Read complete review



Stephen Barber
MusicWeb International, October 2017

All these works are beautifully realised by Olga Andryushchenko. She has won numerous prizes, playing not only the piano but also the fortepiano, harpsichord and organ. She clearly has a particular interest in the modernist works suppressed under the Soviet regime, and has also recorded the piano works of Mosolov. She commands a delicate touch, a comprehensive technique and an ability to gauge and balance Roslavets’s complex textures. She uses the third pedal on the Steinway model D to good effect to clarify the harmonies. The recording is admirably clear and full. © 2017 MusicWeb International Read complete review



Barry Brenesal
Fanfare, September 2017

The performances are uniformly excellent. Andryushchenko does her best to illuminate the inner voices in the dense textures of the earlier works. She has a good grasp of Roslavets’s harmonic implementation of tension-and-release, employing fluid variations in tempo and dynamics to provide expressive variety.

Andryushchenko is insightful and has technique to burn. Recommended. © 2017 Fanfare Read complete review




Bertrand Boissard
Diapason, July 2017

The Russian pianist [Olga Andryushchenko] excels in the fast and light motifs, ‘svelte’, very Scriabin-esque, and negotiates the dramatic and dynamic progression of the works better than Marc-André Hamelin’s reserve from an emotional point of view… The double album of Andryushchenko, offering six world première recordings, stands out all the more for the passionate and intense interpretation of the Sonata No. 1. © 2017 Diapason



Grego Applegate Edwards
Gapplegate Classical-Modern Music Review, June 2017

Olga Andryushchenko does the duties as the pianist throughout. Her fluid readings seem expressively right for the music.

To get the maximum out of Roslavets, you need to cast away expectations and let the music itself work its way into your listening mind.

…with this two-CD set we are treated to some exceptional music that deserves our respect and admiration. I find the music much to my liking. It has a brilliance of its own and that mysterious cosmic quality that Scriabin pioneered. © 2017 Gapplegate Classical-Modern Music Review Read complete review




Michel Fleury
Classica, June 2017

This music reconciles a romantic expressionism with a rigorous construction and regulated proportions following implacable mathematical rules… The works’ frightening virtuosity demands fingers of steel, their sound seeking a large range of timbres and their draconian logic a keen sense of construction—all qualities in the possession of Olga Andryushchenko, who adds a welcome sensuality in these overtly Scriabinian pieces, clearly outperforming the rather dry vision of the excellent Marc-André Hamelin. © 2017 Classica



David Denton
David's Review Corner, April 2017

Two releases on the Naxos label, released a few years ago, made us aware of the early Twentieth century experimentalist Ukranian composer, Nikolai Roslavets. His music suppressed in the former Soviet Union to the extent that those who tried to perform his music were branded as having taken part in ‘propaganda promoting the work of an unrehabilitated enemy of the people’, and he was eventually arrested and most of his manuscripts destroyed in two raids on his home. So here we have all of his piano music that evaded destruction, there being, for instance, a third and fourth sonata that have disappeared. Take away these sad thoughts of a much abused composer, and what do we have? I suppose it would be best described as a latter-day Scriabin who was under the spell of the Second Viennese School’s atonality. Yet I have no doubt that in a 1920’s Viennese society he would have been regarded as a very fresh and inspired voice. Try the Prelude from 1915 as a starting point, the short piece having melody that continues through the following Deux Compositions. He was also a miniaturist, who would, at the time, have been equally fashionable, his most extended scores built from pieces that hover around the two to three minutes duration, his one-movement sonatas lasting around thirteen minutes and reminded me of Alban Berg in their brevity. They also show that his style was not a passing mood, the Fifth from 1923 identical to the First completed nine years earlier. In summary, we have a devout avant garde Russian contemporary composer who, within that category, was obviously could have been a major musical voice. It must be fiendishly difficult to play, the gifted young Russian, Olga Andryushchenko, taking five days to record two rather short discs. © 2017 David’s Review Corner



Lynn René Bayley
The Art Music Lounge, March 2017

Andryuschchenko’s playing is rich-toned and evocative. She does her best to pull the music together and in most cases succeeds, even in those pieces where Roslavets subverts her intentions with ambiguous form and drifting harmonies. Overall, my impression of his piano music is that it is extremely complex and interesting, …Recommended for its creating mood if not for aesthetic appeal. © 2017 The Art Music Lounge Read complete review





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