Pauline Kim Harris - Ramin Heydarbeygi: Echoes of Gusan - COMPACT DISCS [CD]

Gabriel Faure, a master of song, piano and chamber music, particularly appreciated the modulation-rich sound of the erard grand piano. It's rich overtones and clear bass tones made it the ideal instrument for the French salon. This presents not only Faure's musical vision, but also the sound world of the erard grand piano, which played an important role in the musical scene at the time. Marc Coppey fully embraces the fluid rhetoric of Faure's musical language. His interpretation deliberately eschews stylistically unfamiliar permanent espressivo and instead delves deep into the nuances and facets of Faure's compositions. InchFaure authentiqueInch thus presents not only musical brilliance, but also an authentic journey through the French composer's complete works for cello and piano, embedded in the beautiful sound of the erard grand piano. Album Tracks 1. Papillon Op. 77 2. Berceuse Op. 16 3. Cellosonate Nr. I d-Moll Op. 109~I. Allegro 4. Cellosonate Nr. I d-Moll Op. 109~II. Andante 5. Cellosonate Nr. I d-Moll Op. 109~III. Allegro commodo 6. Romanze Op. 69 7. Élégie Op. 24 8. Serenade Op. 98 9. Sicilienne Op. 78 10. Cellosonate Nr. 2 g-Moll Op. 117~I. Allegro 11. Cellosonate Nr. 2 g-Moll Op. 117~II. Andante 12. Cellosonate Nr. 2 g-Moll Op. 117~III. Allegro vivo 13. Après un rêve Op. 7/1 14. Allegretto moderato für zwei Violoncelli 15. Berceuse aus Dolly Op. 56/1

Abstract instrumental works (that is to say, those which had no InchprogrammeInch in InchSocialist RealismInch.) were considered undesirable or - as in the case of chamber music - tainted by Western decadence. Shostakovich had won no friends within the cultural establishment with compositions of this nature. In two Pravda articles of 1936, Shostakovich was accused of Inchleft-deviantInch and Inchpetit-bourgeois decadentInch attitudes. By that time, he had already composed his Sonata for Violoncello and Piano in D minor op. 40; written in 1934, this work was premiered in Moscow the same year. It is essentially the commanding chamber work of Shostakovich's early years. In this recording, the sonata is heard in the version for viola and piano for which the viola part was arranged by Veit Hertenstein. Already seriously ill, he wrote his last work, the Sonata for Viola and Piano op. 147, one month before his death. It is regarded by many as his own encounter with Death. Shostakovich knew that he was about to die. Nor did he live to see his final work premiered. Album Tracks 1. Cello Sonata in D minor, Op. 40 2. Viola Sonata, Op. 147

Album Tracks 1. I. Allegro Appassionato 2. II. Largo 3. III. Allegro Vivace 4. Adagio 5. I. Allegro 6. II. Largo 7. III. Allegretto