Herman Galynin: Piano Music, Volume One
The Russian composer Herman Galynin (1922-66) studied at the Moscow Conservatory with Shostakovich and Myaskovsky, producing a flow of brilliant compositions while still a student. They fuse influences from his teachers — Shostakovich's wit and irony and Myaskovsky's lyrical introspection — with Prokofiev's rhythmic energy to produce a language very much his own. Although he was dogged by ill fortune (he was an orphan) and ill health, Galynin's music expresses a defiant will to live with verve and humour.
Olga Solovieva, piano
Listen To This Recording:
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Sonata Triad (1939–41, rev. 1963)
- I. Allegro in B minor
- II. Allegro in E minor
- III. Allegro in B major
- No. 1, Toccata
- No. 2, Intermezzo
- No. 3, Dance
- No. 4, Aria
- No. 5, Finale
- No. 1, Andantino
- No. 2, Con moto
- No. 3, Scherzando
- No. 4, Lento
- Waltz (c. 1939)
- Dance (c. 1939)
- Scherzo (c. 1939)
- Spanish Fantasy (c. 1939)
- Gavotte
- Intermedio
- Procession ‘Bringing the Gifts’
- No. 1, Siskin
- No. 2, Little Hare
- No. 3, Bear
- No. 4, Swans
- No. 5, Elephant
Suite (1945)
Four Preludes (c. 1939)
Three Pieces from The Tamer Tamed (1944)
At the Zoo (1948/65)
MusicWeb International :
‘brilliantly creative writing … deeply indebted to Shostakovich yet redeemed by an irrepressible personality’
—Rob Barnett, MusicWeb International
AllMusic :
‘Anyone interested in twentieth century music — particularly that of Soviet Russia — will want to experience this.’
—Uncle Dave Lewis, AllMusic
Raymond Luckhurst :
‘Galynin – never heard of the guy – is amazing: a blend of Prok & Shost & the wit of Poulenc & Chabrier, all brilliantly played – she has the clarity of Berman and contagious drive. Inspiring stuff and excellent CD presentation – a welcome discovery…’
—Raymond Luckhurst
Fanfare Magazine :
‘…whimsy, inexhaustible invention, and sharp focus – not only in the arresting thematic material, but in its organization and often fascinating transformation. As for Olga Solovieva, her choice as soloist was inspired. She brings clarity and a wide variety in her touch to these virtuosic performances, while remaining properly responsive to both the poetic and caustic sides of Galynin’s musical personality.…Definitely recommended, with a side order of congratulations to Toccata Classics for making this the first of a series.’
—Barry Brenesal, Fanfare Magazine