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Sara Costa & Fabiano Casanova - Glinka, Balakirev, Rachmaninoff: Russian Music for Piano 4 Hands (2019)

Sara Costa & Fabiano Casanova - Glinka, Balakirev, Rachmaninoff: Russian Music for Piano 4 Hands (2019)
  • Title: Glinka, Balakirev, Rachmaninoff: Russian Music for Piano 4 Hands
  • Year Of Release: 2019
  • Label: Da Vinci Classics
  • Genre: Classical
  • Quality: FLAC (tracks)
  • Total Time: 51:54
  • Total Size: 152 MB
  • WebSite:
Tracklist:

1. Sara Costa & Fabiano Casanova – Capriccio sur des thèmes russes (07:54)
2. Sara Costa & Fabiano Casanova – Suite for Piano Four Hands: I. Polonaise (06:19)
3. Sara Costa & Fabiano Casanova – Suite for Piano Four Hands: II. Chansonnette sans paroles (03:52)
4. Sara Costa & Fabiano Casanova – Suite for Piano Four Hands: III. Scherzo (06:11)
5. Sara Costa & Fabiano Casanova – Six morceaux, Op. 11: No. 1 in G Minor, Barcarolle. Moderato (06:03)
6. Sara Costa & Fabiano Casanova – Six morceaux, Op. 11: No. 2 in D Major, Scherzo. Allegro (03:02)
7. Sara Costa & Fabiano Casanova – Six morceaux, Op. 11: No. 3 in B Minor, Russian theme. Andantino cantabile (05:58)
8. Sara Costa & Fabiano Casanova – Six morceaux, Op. 11: No. 4 in A Major, Valse (04:04)
9. Sara Costa & Fabiano Casanova – Six morceaux, Op. 11: No. 5 in C Minor, Romance. Andante con anima (03:44)
10. Sara Costa & Fabiano Casanova – Six morceaux, Op. 11: No. 6 in C Major, Slava. Allegro moderato (04:42)

What makes Russian music “Russian”? This blunt question (whose very formulation becomes increasingly risky in an age of political correctness) was however crucial both for the composers whose pieces are recorded in this Da Vinci Classics CD, and for their Western listeners, though in a markedly different fashion. In the West, Russian music was frequently perceived as exotic, picturesque, fascinating – but rather in the style of an outlandish curiosity. For Russian composers, the struggle to find a genuine “national” style was a much more serious matter, which involved their very personal and collective identity, and over which lots of ink were split and endless debates took place. On the one hand, in fact, “Russia” and “music” were so strictly intertwined with each other that it was virtually nonsensical to question the existence of an idiosyncratic “Russian” music. One of the greatest Russian authors, Gogol’, summarized this situation perfectly: “What an opera one could make out of our national motifs! Show me a people that has more songs. Our Ukraine rings with song. Along the Volga, from source to sea, on all the drifting trains of barges the boatmen’s songs pour forth. To the strains of songs huts are carved from pine logs all over Russia. To the strains of song bricks are thrown from hand to hand and towns spring up like mushrooms. To the sound of women singing Russian man is swaddled, married, and interred. All traffic on the road, whether noble or commoner, flies along to the strains of the coachman’s song. By the Black Sea the beardless, swarthy Cossack with resined moustaches sings an ancient song as he loads his pistol; and over there, at the other end of Russia, out among the ice floes, the Russian entrepreneur drawls a song as he harpoons the whale. Do we not have the makings of an opera of our own? Glinka’s opera is but a beautiful beginning”.



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