Kapustin Piano Concerto Pdf [UPD] Download





 
 
 
 
 
 
 

Kapustin Piano Concerto Pdf Download

his most popular works are his suites for piano and clarinet, which give a first impression of his music. the opening movement of the piano suite features a rhythmic pattern that is characteristic of jazz piano. the second movement includes a full orchestral accompaniment. the first movement, which is in the sonata form, appears to be tautly constructed and includes a long and continuously ascending melodic line, which in the central section is subjected to a series of abrupt, discordant modulations. the finale is one of the most original compositions for solo piano that i know. it appears to be built on a series of structures, each of which is modulated to a different key. the last of these structures includes a fugal section in which an unexpected and exotic melody appears. the finale contains a variation on the opening material in the middle section, the latter part of which is said to have been inspired by free jazz improvisation. this and the exotic character of the melody are the best features of this composition, which opens a whole new dimension in the work of this composer.

however, in his solo piano works, kapustin is equally adept at writing light music, whose charm lies in the inventiveness of his tonal materials. the piano suite, which has three movements, is rich in rhythmic devices and melodic ideas and is richly melodic. the second movement is a lively and playful rhapsody, which features a rhythmic figure, which is modulated and used as a rhythmic motive. the second movement includes a virtuosic solo episode in which the pianist strikes out in a different direction. this is followed by the third movement, a playful, jazz-influenced rhapsody, which is based on a lively rhythmic figure.

the opening movement is far more traditional, as is the scherzo that appears after the fast first movement. the first slow movement is a cadenza with the theme of the music very clearly defined. a second theme emerges and this is developed by the soloist in a kind of extended rondo, which in turn leads to the final movement, a slow, blues-like lyrical movement that is reminiscent of the theme from shostakovichs symphony no. 5. here is where the two worlds of jazz and classical collide most eloquently and there is much to admire in the way kapustin seems to dine on both worlds at once. we also hear the anticipation of a sine-wave bowing pattern in the right hand. kapustin could hardly be more successful in performing the work. a great deal of individuality marks the playing, and the two pianists have different ideas about the way the music should be performed. the style of the pianists certainly has an influence on the mood of the music, which can at times seem a little too eccentric. kapustin himself describes it as a “jazz-like” work, but even he seems to know that it is not as radical as it may seem. he seems to be making the most of the extra degree of liberty permitted by a concerto and can sometimes sound a little contrived. “i dont want to be a jazz pianist,” he seems to be saying, as if to explain this to his detractors. the question is, should we be interested in how a pianist plays a piece of classical music or in the music itself. in kapustins case we are lucky enough to get both.
kapustin nikolai pianist, composer, and lecturer at the moscow state conservatory is today considered one of russia s most important and original musicians. the first violin of the moscow symphony orchestra. kapustin, who was born in kaluga, russia in 1937, studied at the moscow conservatoire with alexander goldenweiser, and is a prolific composer, especially for his own instrument. his style is a fascinating and distinctive blend of classical and jazz styles, as he expounds his jazz-based melodic and rhythmic ideas within the structures of classical sonata form. the jazz influence is of course nothing new: many composers, including ravel and poulenc, have incorporated jazz elements in their work, but whereas their music makes occasional and relatively superficial reference to jazz, kapustins is unthinkable without it. the jazz influence is of course nothing new: many composers, including ravel and poulenc, have incorporated jazz elements in their work, but whereas their music makes occasional and relatively superficial reference to jazz, kapustin’s is unthinkable without it.
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