Nikolai Peyko: Complete Piano Music, Volume One
The Russian composer Nikolai Peyko (1916-95) studied with Myaskovsky at the Moscow Conservatoire, where he later became Shostakovich's teaching assistant and then an important teacher in his own right. Peyko's piano music shares Shostakovich's fondness for irony and Prokofiev's for driving march-rhythms and playful good humour and, as with so many Russian composers, the sound of bells can often be heard. Each of the two CDs in this complete recording of his piano music ends with one of Peyko's two works for two pianos — the first time that any of this music has been heard in its entirety.
Dmitry Korostelyov, piano
Maria Dzhemesiuk, piano
Listen To This Recording:
- Ballada (1939)
- I Moderato. Allegro con agitazione
- II Allegretto
- III Andante sostenuto
- IV Allegro
- Variations (1957)
- I Moderato con moto
- II Allegro energico
- Bylina (1966)
- I Allegro
- II Moderato
- III Allegro non troppo
- I Prelude and Toccata
- II Nocturne
- III Waltz-Poem
Piano Sonata No. 1 (1946–54)
Sonatina No. 2 (1957)
Piano Sonata No. 2 (1972–75)
Concert Triptych for two pianos (1986)
MusicWeb International :
‘The Concert-Triptych is a complete triumph and should be taken up by accomplished young pianists everywhere. Well done to Korostelyov and Dzhemesiuk generally for their work on these two discs but also for taking up this specific work. … The performances on these two discs [vol. 1 and vol. 2] appear confident and feel convincing – indeed masterly. The engineers have secured full spectrum sound within which Peyko’s extremes of violence, harshness and tenderness are happily accommodated. Those curious about Soviet music of these unstable years and who wonder what there is beyond Shostakovich and Prokofiev but before Gubaidulina and Schnittke should seek out these two rewarding discs [vol. 1 and vol. 2].’
—Rob Barnett, MusicWeb International
International Piano Magazine :
‘Pianist wishing Shostakovich’s piano music matched the level of his quartets should explore Peyko forthwith […] The Moscow-made recording is excellent.’
—Michael Round, International Piano Magazine, November/December 2014