Secrets of Armenia presents a selection of delightful piano works reflecting the dances and folk songs from everyday Armenian life. Performed by pianist Yulia Ayrapetyan, a specialist in the music of Armenia.

Niccolò Castiglioni’s music has at its heart a quest for different timbres and new musical perspectives. After the neo-Classical exercises of his student years he moved towards serial techniques with explorations of contrast and transformation. Castiglioni made his name with Inizio di movimento, consolidating this with Cangianti in which the piano becomes a ‘lyrical instrument of the most tender poetry’. The award-winning Italian pianist Aldo Orvieto continues his survey of piano works by one of Italy’s most unique 20th-century composers.

The award-winning Italian pianist Aldo Orvieto continues his exploration of piano works by Niccolò Castiglioni – one of Italy’s unique 20th-century composers. Includes two world premiere recordings. Volume 1 is available on GP862.

Jouni Somero continues his acclaimed survey of Palmgren’s complete piano music with this seventh volume in the series. With a programme featuring many rarities and premiere recordings, these are works by one of the most prominent composer-pianists of his era.

The piano was a constant throughout Luciano Berio’s life. Not only is there a considerable quantity of early chamber music which makes use of it, but it assumes a truly important role in any number of his works. The earliest work on this recording is the Petite Suite, written when Berio was 22 years of age. In spite of its very traditional name, the Piano Sonata is one of his last works, completed in 2001 to a commission from the Zurich Festival, but arising from an earlier, brief work called Interlinea, written in 2000 for Pierre Boulez’s 75th birthday.

Stellar Italian pianist Matteo Bevilacqua makes his Grand Piano debut with this album of Berio’s complete piano works. He is joined by Luca Trabucco in the works for piano four hands Canzonetta and Torch. 2023 marks the 20th anniversary of Berio’s death.

REVIEW:

In 2007, Andrea Lucchesini recorded most of Berio’s piano music. He had the immediate advantage of having worked on this music with Berio. What differences are there then, in how these two fine virtuosi perform Berio?

Take Sequenza IV. Lucchesini plays in a more exciting, brilliant way, and total playing time for the piece is slightly faster in his hands than Bevilacqua's. The latter’s reading, not surprisingly, is more relaxed, less flashy and more reflective. Bevilacqua also uses the third pedal, producing a sort of random hidden melody. I also prefer the recording.

The Six Encores are stylistically quite contrasted, but meld together successfully. Again, Bevilacqua takes his time. Entirely appropriately, he brings out a feeling of dreamy impressionism in three encores, for example Erdenklavier.

The Petite suite gets its first recording here. It is not really a neo-classical work. but can be thought of as Bach re-imagined through the a Prokofiev lens. The piece is often witty, vibrant, and most enjoyable. This recording may help it find a secure way into the general repertoire.

Cinque variazioni is dedicated to another Luigi Dallapiccola. Such music seems quite out of fashion nowadays, but nonetheless, this is a captivating performance. This also applies to Rounds, perhaps the most pointillistic work of the set, a sort of half-way house between Webern and Stockhausen’s Klaverierstücke.

Andrea Lucchesini premiered the Piano Sonata in 2001. Bevilacqua gives a thrilling and sparkling interpretation, but suspect he has learned a little something from Lucchesini: he enables the more dreamy qualities to come to the fore where necessary. There is a gripping drama here which holds the attention.

Two four-hand duets, Canzonetta and Touch, cap the program. They are small in duration but large in scope. Luca Trabucco is Bevilacqua’s very able partner.

Ivan Moody’s booklet notes feature a very perceptive essay and descriptions of the music.

-- MusicWeb International (Gary Higginson)

The music of Nimrod Borenstein (b. 1969) is becoming increasingly popular on concert stages worldwide and on record, with a series of high-profile commissions and performances in recent years. The two sets of Études featured on this album are inspired by the model of Chopin. Tra Nguyen is a British-Vietnamese pianist whose career has taken her to prestigious venues worldwide. Her six-volume edition of Raff’s piano music is available on Grand Piano (GP728X).

REVIEW:

Judging from this disc’s contents, Borenstein certainly knows how to write idiomatically and effectively for piano. His two books of Etudes address specific techniques, textures, styles, and moods.

I was especially taken with The Melancholic Mobile, the third piece from Reminiscences of Childhood. Here repeated phrases in the piano’s high register give way to rhythmic displacements that resemble phase shifting. Once the lower registers kick in, the music goes into scrambled Schumann mode, but eventually returns to the opening section’s simplicity. Likewise, high-register rhythmic juggling characterizes the disc’s closing Lullaby. My only quibble is that these piano works operate on similar and not very wide-ranging emotional levels, despite the composer’s unquestionable cleverness and facility.

Pianist Tra Nguyen seems to be an ideal advocate for this repertoire. She brings the three-dimensional textures to life through her masterful scaling of dynamics, astute ear for textural differentiation, and colorful pedaling. Pianists seeking technically challenging yet musically accessible contemporary repertoire that is both virtuosic and lyrical at the same time will want to check out Nimrod Borenstein, who enhances this excellently engineered disc with his own articulate and unpretentious annotations.

-- ClassicsToday.com (Jed Distler)

Louise Farrenc was acclaimed as a pianist and pedagogue, one of the few women to teach an instrument at the Paris Conservatoire in the 19th century, and was admired by Robert Schumann and others for her compositions. This second of six volumes dedicated to Farrenc’s complete works for piano focuses on her Theme and Variations sets.

Maria Stratigou’s recording of the Études (GP912-13) was considered ‘beguiling piano music’ in BBC Music Magazine, confirming once again that Farrenc has been unjustly neglected as a composer.

REVIEW:

Over 50 minutes here are world premier recordings—7 of the 9 tracks—all written in the 1820s. There are brilliant parts all through these, but they are more elegant and expressive than the run of the mill variations.

Stratigou is clearly well qualified to tackle Farrenc’s piano works. Her joy in this music is evident not only in her playing, but in her beautifully written booklet essay. She has a full mastery of Farrenc’s romantic style and a technique to match.

-- American Record Guide

This acclaimed edition covering the early 20th century’s fashionable wave of hot dance music from America into Europe now takes us to Switzerland. 20th Century Foxtrots - 5 presents more evocative piano rarities from this decadent era, performed with panache and grace by Gottlieb Wallisch, and features numerous world premiere recordings and a plethora of rarely heard pieces. Volunes 1–4 can be heard on GP813, 814, 854 and 855.

This second and final volume of Olga Solovieva’s complete edition contains all of Alexey Stanchinsky’s published piano pieces composed after 1910, as well as recently discovered early works and numerous world premiere recordings. ‘Stanchinsky’s music is like an exposed nerve, all at the limits of the senses. It reveals the innermost feelings, expressing what is in the soul.’ – Olga Solovieva. Released in November 2019, Volume 1 of Stanchinsky’s piano works (GP766) received wide critical acclaim.

Listen to an excerpt now! 

 Writes Olga Solovieva: “Stanchinsky’s piano music is an unparalleled phenomenon. His talent is vivid and his music melodic in nature. It connects the musicality of the Baroque and Romantic eras with the uniqueness of Russian folk music. His melodies are characterised by a special sinuous quality, which relates it to ancient Russian church music. This second volume of Stanchinsky’s complete piano works includes all of the published works written after 1910, during the last four years of his short life, and also contains the premiere recordings of Stanchinsky's early pieces, which were recently discovered. Some of the later works are tragic in tone but their finales are always enlightened, providing hope; in the finale the music achieves peace with either a light conclusion, or a heroic conclusion. In the last two decades, the interest in Stanchinsky’s music has been increasing, and I believe that a new complete critical edition of his piano music is now very much needed.”

‘My music may not be performed often, but it is performed all over the world,’ wrote the Italian-American composer Vittorio Rieti. His orchestral works were conducted and admired by luminaries such as Rafael Kubelík, Leopold Stokowski and Arturo Toscanini but it was the piano that was arguably Rieti’s first and most significant musical love to which he brought a natural, effortless and brilliant style. Rieti’s works for piano solo and duo, including many world premiere recordings, are performed here by acclaimed Giorgio Koukl, who is joined in the works for piano duo by the prize-winning pianist Virginia Rossetti.

Includes 5 World Premiere Recordings

The ten pieces in this collection have been selected as being most representative of Chinese culture, combining compositions from the 1960s and 70s with contemporary piano works and arrangements of ancient folk songs. Appearing here in his Grand Piano debut is young pianist and composer Edward Han Jiang.

World Premiere Recordings

Armenian music specialist Mikael Ayrapetyan provides ample evidence of the contribution Stephen Elmas’s Mazurkas make to the piano repertoire and to the musical heritage of Armenia and beyond. The first volume in this edition was released in October 2022.

REVIEWS:

Armenian music specialist Mikael Ayrapetyan provides ample evidence of the contribution Stephen Elmas’s Mazurkas make to the piano repertoire and to the musical heritage of Armenia and beyond. The first volume in this edition was released in October 2022. Elmas was born in Smyrna (Turkey) and was a child keyboard prodigy whose very conservative music and his withdrawal from the world due to deafness late in life may have a lot to do with is almost complete absence from musical reference books. He escaped the Armenian genocide and the burning of Smyrna in 1922 and ended his career in Switzerland while his piano, manuscripts and other papers housed now in Yerevan, Armenia. See also 01W001, his full-bloodedly Romantic piano concerto.

-- Records International

This survey of Armenian composer Stephan Elmas’ piano music continues with a volume of Mazurkas. Fine performances from Mikael Ayrapetyan who has made a particular study of Armenian music. Another welcome release from Grand Piano.

-- Lark Reviews

This new recording of piano works by the London-based Italian composer, pianist and pedagogue Carlo Albanesi, performed by Julia Severus, who also provides the booklet notes, is the first of two volumes exploring his little-known repertoire, and features the Sonata in D minor and Sonata in B flat minor.

The sixth volume in this series presents a panorama of Selim Palmgren’s works, featuring Ungdom, Op. 28 and Three Pieces, Op. 54, which includes Raindrops and Moonlight. Previous volumes can be heard on GP908 (Vol. 5); GP907 (Vol. 4); GP869 (Vol. 3); GP868 (Vol. 2) and GP867 (Vol. 1).

Few composers have enjoyed a late flowering to compare with that of César Franck. Many of the great works in this recording were composed during his final decades and still stand today as powerful representatives of French music in the post-Franco-Prussian War period. The influence of Wagner can be heard in the poetic evocations of Les Éolides, while the magnificent Prélude, Choral et Fugue, much admired by Liszt, reinterprets well-known Baroque-era genres into an unforgettably expressive Romantic aesthetic. Widely acknowledged as one today’s great interpreters of French music, Jean-Pierre Armengaud presents an album of rarities composed for piano by Franck and arrangements of the composer’s works by distinguished musicians from the early 20th century.

REVIEWS:

The welcome César Franck revival rumbles on...here’s an interesting collection of piano music from veteran French pianist Jean-Pierre Armengaud. Three out of five of the pieces here are transcriptions; I’d argue that the Prélude, Fugue et Variations, originally an organ work from 1863, sounds far more appealing in Harold Bauer’s piano arrangement. Armengaud’s prelude is tender and lyrical, the ensuing fugue’s lines nicely delineated. The final section’s baroque flourishes look ahead to the opening of Saint-Saens’ Piano Concerto No. 2, composed just a few years later. The tone poem Les Éolides is heard in an effective transcription by French composer Gustave Samazeuilh. Franck’s claggy harmonic language is easier to make sense of when you can hear the notes clearly, and Armengaud keeps the music moving.

The Prelude, Chorale and Fugue is marvellous...its three movements lasting around 20 minutes. Intensely chromatic and brilliantly organised, Armengaud is superb in the fugue’s radiant B major conclusion, the resonant acoustic really suiting the work. As a closer, there’s the posthumously published introduction to Ruth, Églogue biblique, a large-scale early work for voices and orchestra. Armengaud’s conviction brings it to life[.]

-- The Arts Desk

Franck wrote only two mature piano works, the splendid Prélude, Chorale et Fugue and the rather less fine Prélude, Aria et Finale. The first of these features here; otherwise, we have a collection of transcriptions, all except one by other hands.

We begin with the best-known, the version by Harold Bauer of the Prélude, Fugue et Variation, originally written for organ. Bauer did his work so skilfully that you would hardly think that this was not an original piano work, apart from a few spread chords – but then Franck used these anyway in his proper piano works. In this form it is a worthy companion to the two major piano works, and its gentle melody and limpid flow make a good contrast to the more powerful writing in those works. I liked Armengaud’s performance, in which he makes intelligent use of the Steinway third pedal, the sostenuto pedal, to sustain the deep bass notes while the melody and figuration occur above.

Les Éolides is a most attractive orchestral tone poem, inspired by a poem by Leconte de Lisle about what in English we call the Aeolids, the daughters of Aeolus, keeper of the winds in Homer. The original has an elaborate texture, which makes for complex piano writing in Samazeuilh’s piano transcription.

The sleevenote is helpful and the recording very good.

-- MusicWeb International

To watch a live Q&A with pianist Eleonor Bindman discussing the recording of her transcriptions of Bach's Orchestral Suites, click here.

Eleonor Bindman’s new arrangement of Bach’s Orchestral Suites for piano duet follows her widely admired recording of the six Brandenburg Concertos (GP777–78). Once again, the transcription reimagines Bach’s writing using the modern piano, in this case a Bösendorfer. Bindman and her Duo Vivace partner, Susan Sobolewski, draw upon the suite’s dance movements to suggest how Bach might have distributed the material, ordering them for maximum contrast, and succeeding in conveying the music’s vitality and beauty in a new medium.

REVIEW:

This is the world premiere recording of Eleonor Bindman’s arrangement for four hands at one piano of Bach’s four Orchestral Suites. Much like Bindman’s arrangements of the Brandenburg Concertos, this is not a small undertaking. Bindman’s partner for the Brandenburgs was Jenny Lin, and here Susan Sobolewski fills that role admirably. The pianists trade places on the piano bench, so each gets two suites playing the upper part and two playing the lower.

Nothing I heard in these arrangements seemed out of place, and the phrasing and dynamic shaping of the lines were exceptional. This new set is satisfying and very musical. It will give you a fresh look at some of Bach’s greatest works in piano arrangements that work quite well.

-- American Record Guide (James Harrington)