Sergei Ivanovich Taneyev: Piano Concerto, Music for solo Piano

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Catalogue No: TOCC0042
EAN/UPC: 5060113440426
Release Date: 2006-08-07
Composer: Sergei Taneyev
Artists: Adam Wodnicki, Joseph Banowetz, Russian Philharmonic of Moscow, Thomas Sanderling, Vladimir Ashkenazy

The piano music of Sergei Taneyev (1856–1915) is one of Russian’s hidden secrets. Student and friend of Tchaikovsky, Taneyev – a formidable pianist and composer of the front rank – has never had the attention he deserves. The CD couples a first-ever recording of the only two movements he recorded of his youthful piano concerto with more premiere recordings of music for solo piano from across his career. The Four Improvisations, composed jointly by Taneyev, Rachmaninov, Arensky and Glazunov, bring a composite first recording for all four composers. And The Composer’s Birthday, for narrator and piano, four hands, was written as a light-hearted birthday present for Tchaikovsky.

Joseph Banowetz, piano
Russian Philharmonic of Moscow, orchestra
Thomas Sanderling, conductor
Vladimir Ashkenazy, narrator
Joseph Banowetz and Adam Wodnicki, piano duet

Listen To This Recording:

    Piano Concerto in E flat (1876)

  1. I. Allegro
  2. II. Andante funebre
  3. Prelude in F major (1876)
  4. Lullaby in B flat major (1876)
  5. Theme and Variations in C minor (1876) [tempo indications in square brackets are Pavel Lamm’s editorial suggestions]

  6. Theme
  7. Variation I, [Un poco più mosso]
  8. Variation II, Allegretto alla quartetto di P. Tschaikovsky
  9. Variation III, [Allegro]
  10. Variation IV, [Allegretto]
  11. Variation V, Andante espressivo
  12. Variation VI, Allegro
  13. Variation VII, Andante
  14. Variation VIII, Allegro vivace
  15. Variation IX, Allegro
  16. Variation X, [Con moto]
  17. Variation XI, Andante
  18. Variation XII, Andante [non troppo lento]
  19. Allegro in E flat major (1876)
  20. Andantino semplice in B minor (1876)
  21. Repose (Elegy) in E major (1876)
  22. March in D minor (1876)
  23. Four Improvisations (with Arensky, Glazunov and Rachmaninov) (1876) [tempo indications in square brackets are Pavel Lamm’s editorial suggestions]

  24. No. 1, [Moderato], E minor
  25. No. 2, Allegretto, C major
  26. No. 3, [Allegro scherzando], B flat minor
  27. No. 4, Largo, F minor
  28. The Composer’s Birthday, for narrator and piano, four hands (1876)
  29. The Composer’s Birthday, for piano, four hands (1876)

4 reviews for Sergei Ivanovich Taneyev: Piano Concerto, Music for solo Piano

  1. :

    ‘The prize here is a sampling of Taneyev’s piano music, which sounds like a cross between Schumann and Tchaikovsky. Mr. Banowetz plays gorgeously, with a warm, unforced tone and natural expressivity. He’s joined by faculty colleague Adam Wodnicki in Taneyev’s short, four-hands birthday tribute to Tchaikovsky, performed both with and without narration (spoken in Russian by Vladimir Ashkenazy)…’

    —Scott Cantrell, Dallas Morning News

  2. :

    ‘This is an extremely worthwhile disc to explore, and hopefully it will be the first of many to bring Taneyev back into the spotlight.’

    —John Kersey, International Piano

  3. :

    ‘The thorough notes – with the luxurious addition of music examples – are by Anastasia Belina whose research on Taneyev is displayed to grand effect.

    This is the first appearance on disc of the surviving head and trunk of the Taneyev concerto – a work in a tradition both grand and florid. It is coupled with some attractive music for solo piano. The playing time is generous and Toccata uphold an admirable and quickly established tradition for excellence in recording and in sumptuous annotation.’

    —Rob Barnett, MusicWeb Inernational

  4. :

    ‘ In many ways, Banowetz’s reputation as an educator and scholar, as well as a performer respected around the world for his intrepretations of Romantic literature, makes him the perfect interpreter of Taneyev’s piano music. He finds the lyricism, heroicism, melancholy, and yearning typical of Romantic piano music in Taneyev’s, but this music is in every sense of its composition — even emotionally — orderly. […]

    Taneyev’s melodies […] can still be moving and quite affective.’

    —Patsy Morita, AllMusic

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