I am trying to learn this piece now... the left hand is so weird, unlike anything else I've ever played. Do you have any advice? I completely love the way you bring out the right hand melody.

Great rendition of such an inspiring tune.

Эдуард Артемьев - J.S.Bach - Хоральная Прелюдия Фа - Минор

Рахманинов, Концерт № 3, 1 Ч Фраг - 3

Crépuscule no.1-8

Crépuscule no.1-8.6

Crépuscule No.6

Earth Recordings and Antique Beat bring you the essential collection of works from Mikael Tariverdiev. 'Film Music' is a 51 track, 3 disc collection containing Tarivderdiev's most popular works and many unheard treasures. Remastered and transferred from original master tapes at the Tariverdiev home, Film Music is sequenced by Vera Tariverdieva and Stephen Coates. Delivered in three segments 'Goodbye Boys!', 'Snow Over Leningrad' and 'I am a Tree'. Film Music is due for release in November in a deluxe hard case outer and includes a 20 page book with extensive contributions and unseen photographs.

Mikael Tariverdiev - Prelude For Cello And Piano

Alfred Schnittke - Эти свободные бабочки

Art has a feature of avoiding straightforward statements. 

More precisely, those thoughts originality of which requires an artistic language are rarely simple or straightforward. In this case, a musical statement becomes a metaphorical one. 

But what features - linguistic and stylistic - are inherent to this kind of statement? And what tasks as a result appear before the performer, the interpreter? 

Sometimes we expect a metaphor to be something complex, deliberately ambiguous, but if by the statement we gain new ways of understanding, a metaphor survives. It becomes obvious and natural like a long-time proven assertion in mathematics, which over time has become a well-known theorem... 

But then a new layer of metaphors appear. It comes naturally as a new coil of what was proven in the previous turn… Maybe there again is a choice appearing in front of the artist? What should the artist do, take part in the pursuit of the evolution of the metaphorical language, or hide, using seemingly familiar tools and forming a completely new context? 

The author, obviously, selects the second. 

Of course, this makes his music defenseless and extremely vulnerable to the performance. The slightest inaccuracy of the interpretation could trigger a completely different association and a metaphorical statement will be destroyed... 

I hope that we were able to uncover the author's intention in his modern sound where archaisms, modern expression and avant-garde ideas give birth to a new dramaturgy. 

Ilya Hoffman
__

Polina Osetinskaya: piano

Composed by: Sergey Akhunov 

Recorded by: Alexei Barashkin 
Recorded at: The D. D. Shostakovich Saint Petersburg Academic Philharmonia, Large Hall, 31 May – 4 June, 2016 
Edited by: Alexei Barashkin 
Mixed, mastered by: Alexander Mikhlin 
Cover photo by: Anna Zyabreva

Sketches

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Sergey Akhunov - Sketch VII (Performed by Polina Osetinskaya)

Бах И.С. Страсти по Матфею

Glenn Gould : Bach: The Well-Tempered Clavier, Book I, Preludes & Fugues Nos. 9-16, BWV 854-861 - Gould Remastered

J. S. Bach - WTC I Prelude & Fugue No. 10 in E Minor BWV 855 - Glenn Gould (1964)

Эдуард Артемьев - Инструментальная тема (Свой среди чужих, чужой среди своих) 

Edward Artemiev - Instrumental Theme (Among Strangers, Stranger Among Friends)

Chopin - Nocturne Opus 9 No.1 in Bb Minor

Erik Satie - Gnossienne n°3

I am interested in playing a wide range of repertoire from Bach to Brubeck. Discovering Sound Cloud has opened a door to an amazing global pool of shared talent and ideas. Thank you for listening to my recordings and I welcome any comments.

Chopin - Nocturne Opus 9 No.1 in Bb Minor

Ellen Cunningham

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