Asiya Korepanova in Personal Piano Project
Midnight Pieces – Episode #9
“Midnight Pieces’ is a project presenting 53 beautiful works from 53 composers (originally meant as one piece for each week of the year, plus one) – music, that is just perfect for night-time listening.
The pieces follow a hidden pattern: within each consecutive 4 works one is famous, one is by a Russian composer, one is obscure work and one is a transcription by yours truly.
These categories mix and match sometimes, but overall there are iconic and less-known pieces by well-known composers, quite a bit of breathtaking pieces by obscure composers and several world premieres of my transcriptions of rare and famous works of different authors.
I felt a need to fight the general fascination of the general audience with piano pieces that are primarily virtuosic encores (Volodos Turkish March etc), and wanted to create a project that fulfills the desire for aesthetic pleasure, for beauty of the music itself. It doesn’t mean there is no virtuosity there – there is plenty, but not as the main point at all.”
Asiya Korepanova and Pianists Corner offer you a weekly rendezvous. Each rendezvous will contain 4 pieces.
“Regarded as ‘African Mahler,’ Samuel Coleridge-Taylor was a 19th century Black English composer of amazing poetic qualities. Named after famous English poet Samuel Taylor Coleridge, the composer, unfortunately, did not live a long life, but has written many works in very diverse genres, merging classical forms and African folk melodies into fresh and exciting musical material. The Lone Forest Maiden, the first number of his Forest scenes (we immediately think of Schumann with this name!), is a big surprise for an opening of a cycle. It has features that could be reworked into a whole sonata – so many shades, so much energy, such a story, and depth one can find in this piece.” A.K.
Samuel Coleridge-Taylor : Forest Scenes Opus 66 (1907) – 1. The Lone Forest Maiden
“The finest embodiment of dignity, honesty, and true bravery, a hardworking genius equally capable of delicate transparency and irresistible power, Dmitry Shostakovich is a unique example for all of us. Having gone through censorship, blockade, and many the ordeal, he continued giving the world the gift of his unmistakable voice no matter what was happening around him.A part of the Ballet suite no. 1, his little Romance is not performed often as a solo piano piece. But its arresting beauty and whimsical poetic flow do sound wonderful on the piano and need to be heard more!” A.K.
Dmitri Shostakovich : Ballet Suite No. 1 (1949) – 3. Romance
“The brainchild of two incredible composers, the father of Russian opera Mikhail Glinka and the wild virtuoso, lyricist and challenger of the piano (and not only!) Mily Balakirev – The Lark – wonders and assures, heals and cries, soothes and moves, and everyone can find something in it that will carry them away.” A.K.
Mikhail Glinka / Mily Balakirev : The Lark from A Farewell to Saint Petersburg
“Darius Milhaud is one of those authors whose massive body of work is virtually unknown to the general audience besides one or two super famous works, such as his “hit” suite Scaramouche. But his fluid, sensual and at the same time edgy and unpredictable voice is extremely attractive and deserves much wider recognition. ‘Lent’ (“slow”), the opening movement of his early piano suite, Op. 8, is truly magical. It promises great things with the mastery of developing a simple motif into a captivating flow, with colors, and with the clarity of form – main treats of the great composers.” A.K.
Darius Milhaud : Suite Opus 8 (1913) – 1. Lent
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