Elisaveta Blumina - Weinberg: Piano Sonatas, Opp. 8, 49bis & 56 (2018)
BAND/ARTIST: Elisaveta Blumina
- Title: Weinberg: Piano Sonatas, Opp. 8, 49bis & 56
- Year Of Release: 2018
- Label: CPO
- Genre: Classical
- Quality: flac lossless
- Total Time: 01:05:34
- Total Size: 273 mb
- WebSite: Album Preview
Tracklist
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01. Piano Sonata No. 2 in A Minor, Op. 8: I. Allegro
02. Piano Sonata No. 2 in A Minor, Op. 8: II. Allegretto
03. Piano Sonata No. 2 in A Minor, Op. 8: III. Adagio
04. Piano Sonata No. 2 in A Minor, Op. 8: IV. Finale. Vivace
05. Piano Sonata, Op. 49bis: I. Allegro leggiero
06. Piano Sonata, Op. 49bis: II. Andantino
07. Piano Sonata, Op. 49bis: III. Allegretto
08. Piano Sonata No. 4 in B Minor, Op. 56: I. Allegro
09. Piano Sonata No. 4 in B Minor, Op. 56: II. Allegro
10. Piano Sonata No. 4 in B Minor, Op. 56: III. Adagio
11. Piano Sonata No. 4 in B Minor, Op. 56: IV. Allegro
The Echo Klassik prizewinner Elisaveta Blumina numbers among the outstanding female musicians of the younger generation who pursue their own paths, unaffected by any sort of “star cult.” Along with the classical piano repertoire, Elisaveta Blumina occupies herself very intensively with the music of the twentieth and twenty-first centuries. Her internationally highly regarded recordings of the Soviet Jewish composer Mieczyslaw Weinberg, to whose rediscovery she is tirelessly committed, are among the projects documenting this involvement. For cpo she has now recorded three sonatas by Weinberg. The clear proportions and modest length of the Sonatina op. 49 led Weinberg to rework it in 1978 in order to expand its structure, lengthen it into the Sonata op. 49, and to readjust its balance. In this sonata of classical design Weinberg further developed the spectrum of musical expression and increased the technical demands when compared to his Sonata No. 2 and the Sonatina. The Sonata op. 49 numbers among the few productions for the concert hall from this creative phase, which was reserved for intensive occupation with film music – and in particular for animated films. Emil Gilels recorded the Sonata No. 4 in 1960. Unlike the version by this dedicatee, which maintains a swift tempo, Elisaveta Blumina’s slower, more intensive playing lends greater expression to the work’s drama and grief.
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01. Piano Sonata No. 2 in A Minor, Op. 8: I. Allegro
02. Piano Sonata No. 2 in A Minor, Op. 8: II. Allegretto
03. Piano Sonata No. 2 in A Minor, Op. 8: III. Adagio
04. Piano Sonata No. 2 in A Minor, Op. 8: IV. Finale. Vivace
05. Piano Sonata, Op. 49bis: I. Allegro leggiero
06. Piano Sonata, Op. 49bis: II. Andantino
07. Piano Sonata, Op. 49bis: III. Allegretto
08. Piano Sonata No. 4 in B Minor, Op. 56: I. Allegro
09. Piano Sonata No. 4 in B Minor, Op. 56: II. Allegro
10. Piano Sonata No. 4 in B Minor, Op. 56: III. Adagio
11. Piano Sonata No. 4 in B Minor, Op. 56: IV. Allegro
The Echo Klassik prizewinner Elisaveta Blumina numbers among the outstanding female musicians of the younger generation who pursue their own paths, unaffected by any sort of “star cult.” Along with the classical piano repertoire, Elisaveta Blumina occupies herself very intensively with the music of the twentieth and twenty-first centuries. Her internationally highly regarded recordings of the Soviet Jewish composer Mieczyslaw Weinberg, to whose rediscovery she is tirelessly committed, are among the projects documenting this involvement. For cpo she has now recorded three sonatas by Weinberg. The clear proportions and modest length of the Sonatina op. 49 led Weinberg to rework it in 1978 in order to expand its structure, lengthen it into the Sonata op. 49, and to readjust its balance. In this sonata of classical design Weinberg further developed the spectrum of musical expression and increased the technical demands when compared to his Sonata No. 2 and the Sonatina. The Sonata op. 49 numbers among the few productions for the concert hall from this creative phase, which was reserved for intensive occupation with film music – and in particular for animated films. Emil Gilels recorded the Sonata No. 4 in 1960. Unlike the version by this dedicatee, which maintains a swift tempo, Elisaveta Blumina’s slower, more intensive playing lends greater expression to the work’s drama and grief.
Year 2018 | Classical | FLAC / APE
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