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Peter J. Rabinowitz
Fanfare, July 2020

Olga Solovieva has been praised on these pages for her virtuosity, her clarity, and her range of expression—and the same qualities are in evidence here. I especially appreciate her responsiveness to musical character: Whether in the yearning of the sonata or the poignant ending of the Prelude in C♯ Minor or melodic curve of the second Song without Words or the funereal stateliness of the Prelude in E♭ Minor, she does an excellent job of catching Stanchinsky’s kaleidoscopic play of moods. That’s not only true as we move from work to work but also within individual pieces. Note, for instance, how nimbly she negotiates the changing spirit of the Humoresque. When necessary, too, she shows melting Romantic sensitivity: I especially enjoyed the shock of the way she varies the first repeat in the second Song without Words. Good sound, excellent notes: another Want List candidate. May the rest of the series come quickly! © 2020 Fanfare Read complete review

James Harrington
American Record Guide, May 2020

The piano writing here is really exciting and needs a true virtuoso with strong sympathies towards Russian music to bring it off. Olga Solovieva very comfortably does that, playing with all the power and sophistication the music demands. © 2020 American Record Guide Read complete review on American Record Guide

Philip R. Buttall
MusicWeb International, January 2020

This new release is a most compelling one, not only because it contains such attractive late-Romantic music, extremely well-executed and faithfully captured on disc, but because Alexey Stanchinsky really does have original things to say, and, while his life was but short, there is tantalisingly more than a glimpse here of what might have been. Like Schumann, Stanchinsky suffered from a severe mental illness, but often genius is just one step away from madness. Not wishing to imply that these two composers could in any way share the same musical pedestal, the Grand Piano label has already done an immense service to this sadly-neglected composer, and the promise of a Volume Two is something to relish in the hopefully not-too-distant future.

This CD, and the music of Alexey Stanchinsky, have been a real ‘find’ for me, and the fact that it features six World Premiere Recordings makes it an even more attractive proposition. I, for one, would be more than happy to consider him alongside the likes of Lili Boulanger, or Guillaume Lekeu, as a fully paid-up member of that unfortunate ‘Twenties’ club. © 2020 MusicWeb International Read complete review

Records International, December 2019

Ateș Orga’s description of Stanchinsky’s music in his notes for the 1994 Marco Polo release are succinctly excellent: “…a lot genius in Russian music, writing in a late Romantic style that may suggest Scriabin, by turns epic, nervy, voluptuous, abrasive, bleak, visionary, sombre and cynical.” Five first recordings recommend this new, promised, complete edition. © 2019 Records International

David Denton
David's Review Corner, November 2019

The booklet with this release relates the sad life story of the Russian-born composer, Alexey Stanchinsky, who died in tragic circumstances aged twenty-six. In the year of his death, 1914, he had performed a programme of his own piano works in a Moscow Conservatory concert, the critics describing him as ‘the most talented and original composer’. The first track, the Piano Sonata in E flat minor, immediately places him in the Rachmaninov era. In one continuous movement, it is technically demanding and massive in concept. From therein the disc contains his entire output until 1910. Mostly of cameos, and lasting a matter of seconds, no matter as to their length, they are all beautifully crafted. I was particularly drawn to the tender and poetic quality of the three Songs Without Words, and he obviously had a gift at writing meaningful and attractive Preludes in many differing modes, the disc containing ten examples, and one that is linked with a fine Fugue concludes the disc. At times, as in the opening of the Nocturne, he slips into the garb of Chopin, but his three Etudes are very much of his own creation, particularly the highly charged and technically challenging G minor. It is all too easy to exaggerate the claims of a long forgotten composer, and I would fall short of the adoration shown by the authors of the accompanying booklet notes, but with the excellence of the Russian-born pianist, Olga Solovieva, I would commend the disc to you and look forward to future releases. © 2019 David’s Review Corner

Musicalifeiten, November 2019

Beautifully articulated by Olga Solovieva… She makes a warm and convincing musical case for the composer and everyone with a liking for Russian late romanticism will hear something harmoniously bold and beautiful that is worthwhile to listen to. © 2019 Musicalifeiten

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