“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.
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.
“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.
“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.
“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.
“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.
Asiya Korepanova and Pianists Corner offer you a weekly rendezvous. Each rendezvous will contain 4 pieces.
“For all those feeling sad for the ended summer, here is the Mid-Summer from the beautiful ‘New England Idylls’ by American composer Edward MacDowell. This Romantic landscape from the 19th century truly transports me to the paradise warmth of the much needed summer season!” A.K.
“César Franck is an easily addictive composer of far less piano works than we wish he wrote. This is why I transcribed his Mariage des Roses, a delightful song that offers both shimmering pleasure of lyricism and bravura of passionate love. I am honored to dedicate this work to the dearest friend of mine, Abram Kreeger, a huge César Franck lover and incomparable piano and music enthusiast, who truly transformed my life and has always been a needed source of inspiration, advice, and friendship. Also, keep in mind that 2022 is a big Franck year – he will turn 200 years old!” A.K.
“Max Reger is someone who resembles Brahms for certain people, appears to be difficult to understand to others, and who in fact was one of the few to grace and rock the old Baroque forms at the dusk of the 19th century. Inspired by Richard Wagner while still a young composer, Reger kept the sense of enormous power and saturated colors inherited from the opera giant throughout his life. Chant de la Nuit is a perfect Midnight Piece and a perfect display of Reger’s assets – tender, warm and rich, with an unbelievable climax in the middle section. It was a great pleasure to discover this piece along with the whole set of Klavierstücke, Op.24, and even greater joy to perform it!” A.K.
“I was probably 4 or 5 when I first heard my mother humming this tune – she just returned from a busy day of rehearsals in Moscow city. She was tired and was telling me a story from this wondrous country far-far away, represented by a melody, which was both sweet, exciting and full of incredible hope. I remembered it instantly and sang it for myself for many years. And this is my transcription of that melody, the extraordinary Leonard Bernstein’s song ‘Maria’ that can convey both the ecstatic love and ringing hope. I am dedicating it to my mother Soreyya, whose love and strength can move mountains. I truly believe today we need this music very much. It promises us happiness and peace in the most poetic way, and I feel lucky I can share my version of it with you.” A.K.
“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.
Asiya Korepanova and Pianists Corner offer you a weekly rendezvous. Each rendezvous will contain 4 pieces.
“They say that John Field invented the piano Nocturne and I disagree. The night music existed long before that. And though the views on the performing style can be absolutely polar, and many people find it unacceptable to play Bach Romantically in any way, it is hard to rule that J.S Bach’s beautiful Sinfonia in G minor did not anticipate all the future Nocturnes in the world.” A.K.
“The subtle colors and transparency of this rare and little Dvořák composition, Vzpominaní (Reminiscing) remind me of Chopin mazurkas, having a bit of a dance-like mood to it. And although the unfolding climax in the middle is rather passionate, it doesn’t alter the overall pastel palette of the piece.” A.K.
“Soothing, enlightening, elevating, and iconic, Franz Schubert’s Impromptu in G flat major is a mysterious world of its own. Not many people know that this worldwide known and beloved work wasn’t published for almost 30 years after its creation, and first was published in a wrong “simplified” key of G major and modified time signature, which was believed to be the original for many years!” A.K.
“Mily Balakirev is an author of much more beautiful pieces than we are familiar with. One of them – this rarely played Nocturne in D minor, which breaks my heart each time I hear the first notes of its closing section. It’s almost mystical, enigmatic…who would expect something like this from the composer of the brave and brilliant “Islamey”? Meanwhile, the Nocturne has that shiny side, too: it’s thundering climax grows on musical material which is very similar to Islamey’s middle part. But it’s piercing lyricism is something very special…” A.K.
“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.
Asiya Korepanova and Pianists Corner offer you a weekly rendezvous. Each rendezvous will contain 4 pieces.
“Liebestraum by Franz Liszt is a timeless song of the joyful dreams of love. It is about passion and tenderness, and all those incredible feelings that fill out hearts when we are in love. I also think that it could be a nostalgic manifest as well, in which case it is even more beautiful.” A.K.
“Feuillet d’Album ( Leaf from an Album) by Alexander Scriabin is a marvel, because it tells a detailed and beautiful story within 100 seconds, almost like in a 5 minute sleep where we see years of life. I am amazed how transparent this music is, and yet how colorful. How fragile, and how it can sweep us away with the power of feelings.” A.K.
“A “minute waltz”, The Puppet’s Dance by Czech composer Bohuslav Martinu embodies all the elegance of the ballroom epoch. It is tender, fast, features many moods and nuances – and brilliance. I hope it will make you want to dance!” A.K.
“This transcription is a part of a major work of mine, which is the complete Rachmaninoff Cello sonata for piano solo. I transcribed the entire Sonata for piano solo because I craved to play it by myself any time I want, without depending on having or not having a cello partner. This slow movement of the sonata, the Andante, gives me chills on stage each time I play it, and I hope it will give you chills, too. The entire sonata will soon come out on a CD, along with the published score of it!” A.K.
“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.
Asiya Korepanova and Pianists Corner offer you a weekly rendezvous. Each rendezvous will contain 4 pieces.
“Padre Antonio Soler, the “Spanish Scarlatti”, is somewhat rebellious by nature, even though we do not hear it right away. In his Sonata in C minor, he uses the old form of a sonata, where each half repeats. Scarlatti mostly wrote his sonatas in the same form; as well as many Bach’s works, including those which are not sonatas, still were written structurally the same. I love how this small piece displays so many characters – and they also can be altered in repeats! There are places for lyrical and heroic moments, mournful and cheerful episodes, embellishments and virtuosity, and yet it all starts and ends on a quiet note.” A.K.
“I always loved the dreamy and exquisitely gentle Slumber Song by Robert Schumann – from his rarely played collection of Album Leaves, Op.124. The entire collection itself is so whimsical, but the opening four notes of this piece’s melody are surprisingly the same as one of the main motives of the second movement of Mahler’s Eighth Symphony, which also appears quietly and as if through a dream. I like to imagine these two works are somehow related!” A.K.
“I have admired this piercing Intermezzo by Johannes Brahms since early childhood – each note felt like a drop of water in the silence of time, and yet all of the notes were a part of an enormous flow…Enormous in its quietness and sense of a long story captured within a short narrative. One of the very last four pieces for piano that Brahms ever wrote, this Intermezzo makes me think of it as a metaphor of his life. I first performed the entire Op.119 when I was 12 years old, and the inner connection with it never leaves me.” A.K.
“Rose Adagio from the ballet Sleeping beauty is one of the most uplifting, powerfully beautiful, enlightening, regal and inspiring moments in the ballet literature…how annoyed I was one day to find that it wasn’t included in the famous Sleeping Beauty suite transcription for piano by Mikhail Pletnev! And how happy I am that this circumstance allowed me to have my own version, which I always miraculously find energy to play at the end of my solo and orchestral performances – just because it is such gorgeous music, and also because it is one of my favorite keys. This recording was made in the week that will forever be marked for me as a very sad and difficult moment of passing of my beloved grandfather, Anatoly Korepanov. He was a genius doctor and scientist, who saved thousands of lives, and who has made an insane progress throughout his own life, from a hungry boy of an obscure little village to someone whose knowledge and mastery became legendary. My transcription of Rose Adagio is dedicated to him and the memory of him, full of his bursting energy, joy of life and ability to achieve something that previously seemed impossible.” A.K.
“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.
Asiya Korepanova and Pianists Corner offer you a weekly rendezvous. Each rendezvous will contain 4 pieces.
“Based on a Moravian folk melody, Leoš Janaček’s unusual and irresistibly sincere piece “Good Night!” almost makes us see a Milky Way passing by our eyes. The motif is so simple but provides a profound sense of depth, where twinkling light surpasses darkness. It somehow reminds me of Schumann’s Child Falling Asleep, there is definitely a shared sentiment between these two pieces!” A.K.
“Originally composed for cello and piano, the Elegie by Gabriel Fauré means the world to me. Not only is this one of those rare examples when sorrow becomes ecstatic, it is also the very first piano transcription I have ever written. Having a sentimental attachment to this music, I always wanted to be able to play it by myself; and I am so happy I can do it anytime now!” A.K.
“Painted with transparent yet rich sounding colors, this Nocturne by Russian composer Anton Arensky is a part of his collection of 24 piano pieces, Op.36. It is Chopinesque, elegant, and still maintains the Russian character and flow. I just could not take my hands away from it, as well as from the rest of the works in this collection!” A.K.
“Written by Chopin when he was just 11 years old, this little Polonaise displays an astonishing palette of colors and offers sentiments that are far beyond the composer’s age. In Russia, this polonaise is very often played by children before they “graduate’ to perform the big Chopin Polonaises – it teaches young players to hold the structure of the piece together, to be able to find subtle differences in repeats and to be as poetic as possible.” A.K.
“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.
Asiya Korepanova and Pianists Corner offer you a weekly rendezvous. Each rendezvous will contain 4 pieces.
“What did an ode to love sound like in 1907 ? Was it openly passionate and how did that passion show itself ? Alban Berg answers this question in his Liebesode, one of the Sieben Frühe Lieder (Seven Early Songs) song cycle, an early and exquisitely sensual work. Together with a poem by Otto Erich Hartleben, this music embraces us with its emotional power. I am very excited to present my transcription of it!” A.K.
Ode to Love (English translation, Asiya Korepanova) :
In the arms of love we fell asleep blissfully. At the open window listened to the summer wind, And our breath was peaceful taking out Into the bright moonlit night. –
And from the garden, touching timidly, A scent of roses came to our love bed And gave us wonderful dreams, Intoxicating dreams, so rich with longing!
Liebesode (1907) :
Im Arm der Liebe schliefen wir selig ein, Am offnen Fenster lauschte der Sommerwind, Und unsrer Atemzüge Frieden Trug er hinaus in die helle Mondnacht.
Und aus dem Garten tastete zagend sich Ein Rosenduft an unserer Liebe Bett Und gab uns wundervolle Träume, Träume des Rausches, so reich an Sehnsucht.
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“The beloved and famous work this week is represented by Ravel’s music. As a child, I was charmed by the art of Diego Velazquez, especially his series of portraits of the beautiful Infanta Margarita, a young princess. To me, she was an ethereal and fragile symbol of a long-gone epoch, full of wonders. Years later, when I first heard Maurice Ravel’s “Pavane pour une Infante défunte,” (Pavane for a dead princess) my first thought was about that infanta from Velazquez’s canvases – pure stillness, expectations of a youthful yet timid being and inner power, almost unnoticeable behind a transparent smile… The most amazing discovery for me was that Ravel himself thought of this connection, too! His fascination with Spanish music and culture was with him his entire life.” A.K.
Diego Velazquez – Infanta Margarita Teresa in a Blue Dress
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“Both rare and Russian, this gem of prelude in A flat major by César Cui is a wonderful reminder of how beautiful the music can be, even coming out of the hands and mind of someone, whose “day job” was in military engineering technology circles (which are supposedly far from the art of subtle sound details!).Who would imagine a military general creating mysterious and amorous atmospheres in his prolific and genre-wise diverse musical output ? But, despite his wonderful talent, in my opinion, Cui (the author of 15 operas, some orchestral works and many for piano, chamber groups, and voice) still remains generally underplayed and under appreciated. I hope you will agree how wonderful he is, and I am hoping to play more of his music in the course of my career.” A.K.
“Domenico Scarlatti is an amazing composer, whose works allow so many different ways of interpretation – harpsichord-like playing, romantic approach, improvisation of embellishments, and many more. And he has so many sonatas, that the vast majority of them end up being rarely heard works! Here I am exploring many passing vertical sonorities and chords as I am playing Scarlatti’s Sonata K.69 without any pedal, with both of my feet on the floor and connecting all the lines (what is called legato in musical terms) with just my fingers. It helps me to create an illusion of singing when I play.” A.K.
“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.
Asiya Korepanova and Pianists Corner offer you a weekly rendezvous. Each rendezvous will contain 4 pieces.
“Twisting my own plan ever so slightly, the next 4 pieces present TWO rare works, one famous one and one that is both Russian and my own transcription!
“Reverie” by Jean Sibelius starts the second group of pieces and I am happy to share this insanely gorgeous work by a composer that we mainly know as a symphonist and an author of one of the most powerful violin concertos… The piano music by Sibelius is performed very rarely, but is nevertheless something very special – dreamy, delicate, sonorous and endlessly romantic! Most of his piano works do not share the power and energy found in his symphonies and tone poems, yet they bring out other subtle sides of his musical personality.” A.K.
“Originally “The Girl I Love”, “The Man I Love” is one of the most beautiful love songs written by Gershwin, and one of the most famous, too. Surprisingly, at the beginning of its life, the song could not find its place in any of the musicals or shows of the time, its real fame came to it decades later. Perhaps it is the yearning character that made it an awkward fit for biting satires like Lady Be Good and Strike Up the Band” A.K.
“The Russian piece and transcription categories are combined in this next work. I have been obsessed with Mussorgsky’s Songs and Dances of Death ever since I first performed them at age 13. I was blown away by their powerful stories, and a sense of inevitability conveyed in the music. Since recording this video, I have written transcriptions of all 4 Songs, but my favorite among them has always been, and remained so the Serenade, portraying Death coming as a mysterious knight to a deadly ill young woman. I was attracted by Mussorgsky’s use of rich and sometimes spicy harmonies, and by a thrilling metaphor of a deadly love hidden between its lines. Mussorgsky created a haunting sound image by setting the poetic text in a subtle, detailed way, magnifying each moment. Lyrics by Russian poet Arseny Golenishchev-Kutuzov” A.K.
Lyrics by Arseny Golenischchev-Kutuzov (English translation by Sergy Rybin) :
Magical languor, blue night, Trembling darkness of spring. The sick girl takes in, with her head dropped, The whisper of the night’s silence. Sleep does not close her shining eyes, Life beckons towards pleasures, Meanwhile under the window in the midnight silence Death sings a serenade: “In the gloom of captivity, severe and stifling, Your youth is fading away; A mysterious knight, with magic powers I’ll free you up. Stand up, look at yourself: with beauty Your translucent face is shining, Your cheeks are rosy, with a wavy plait
Your figure is entwined, like with a cloud. The blue radiance of your piercing eyes Is brighter than skies and fire. Your breath flutters with the midday heat … You have seduced me. Your hearing is captured with my serenade, Your voice called for a knight, The knight has come for the ultimate reward; The hour of ecstasy has arrived. Your body is tender, your trembling is ravishing… Oh, I’ll suffocate you In my strong embraces: listen to my seductive Chatter! … be silent!…You are mine!”
Серенада (Песни и пляски смерти – May 11, 1877) :
Нега волшебная, ночь голубая, Трепетный сумрак весны. Внемлет, поникнув головкой, больная Шопот ночной тишины. Сон не смыкает блестящие очи, Жизнь к наслажденью зовёт, А под окошком в молчаньи полночи Смерть серенаду поёт: “В мраке неволи суровой и тесной Молодость вянет твоя; Рыцарь неведомый, силой чудесной Освобожу я тебя. Встань, посмотри на себя: красотою Лик твой прозрачный блестит, Щёки румяны, волнистой косою
Стан твой, как тучей обвит. Пристальных глаз голубое сиянье, Ярче небес и огня; Зноем полуденным веет дыханье… Ты обольстила меня. Слух твой пленился моей серенадой, Рыцаря шопот твой звал, Рыцарь пришёл за последней наградой: Час упоенья настал. Нежен твой стан, упоителен трепет… О, задушу я тебя В крепких объятьях: любовный мой лепет Слушай!… молчи!… Ты моя!”
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“This tender and sensual piece, Nocturne by Francis Poulenc, is another rarely played work. It brings out the most precious memories – life memories, special memories. Even the memories coming from before I got to know this piece. My favorite moment is at 3’15” – soul-baring passage of fluid nostalgia.” A.K.
“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.
Asiya Korepanova and Pianists Corner offer you a weekly rendezvous. Each rendezvous will contain 4 pieces.
“For the opening piece, I wrote a transcription of a beautiful and rarely performed art song by American composer Amy Beach, and premiered it on the week of her 150th anniversary of birth in September, 2017. She wrote this song on a famous poem, “Extase,” by Victor Hugo where he describes his amazing spiritual experience. “Extase” comes from a cycle Beach wrote on Hugo’s poems.” A.K.
The Amy Beach cycle Opus 21 is written from Victor Hugo’s poems
Extase (English translation) :
I was alone beside the sea, upon a starry night. And not a cloud was in the sky, and not a sail in sight. Beyond the limits of the world far stretched my raptured eye, And the forests and the mountains, and nature all around, Seemed to unite in questioning, in vast and mingled sound, The billows of the ocean, and the splendour of the sky.
And the golden stars of heaven, in their unnumbered crowd, With a thousand harmonies, with voices clear and loud, Replied, as low they bended down their radiant crowns of flame And the blue floods that nought has power to govern or arrest, Replied, as low they bended down, the foam upon their crest— ‘The Lord, our great Creator, His glory we proclaim!’
Extase (Les Orientales, 25 Novembre 1828) :
J’étais seul près des flots, par une nuit d’étoiles. Pas un nuage aux cieux, sur les mers pas de voiles. Mes yeux plongeaient plus loin que le monde réel. Et les bois, et les monts, et toute la nature, Semblaient interroger dans un confus murmure Les flots des mers, les feux du ciel.
Et les étoiles d’or, légions infinies, À voix haute, à voix basse, avec mille harmonies, Disaient, en inclinant leurs couronnes de feu ; Et les flots bleus, que rien ne gouverne et n’arrête, Disaient, en recourbant l’écume de leur crête : – C’est le Seigneur, le Seigneur Dieu !
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“The second piece represents the extreme rarity of the piano repertoire. Did you know Bruckner wrote piano music? This is Erinnerung (Remembrance) by Anton Bruckner. For a long time, I only knew Bruckner as an author of glorious symphonies and profound masses and motets, as well as some pieces for strings. But piano? His style never struck me as being particularly pianistic… Erinnerung is a true gem which displays Bruckner’s typical structural approach to writing slow movements of his symphonies, where the initial simple melody develops gradually, supported by ever-growing secondary lines. I love how this piece features a beautiful climax and yet ends with a big question mark, leaving us craving for more.” A.K.
“The third piece is the worldwide piano favorite, Debussy’s Clair de Lune. Everyone knows it, but not many remember its inspiration – a subtly delicious poem by Paul Verlaine:Your soul is a delicate landscape Where roam charming masks and bergamasques Playing the lute and dancing and seeming almost Sad under their whimsical disguises. While singing in a minor key Of victorious love and easy life They don’t seem to believe in their happiness And their song mingles with the moonlight, With the sad and beautiful moonlight, Which makes the birds in the trees dream And sob with ecstasy the water streams, The great slim water streams among the marbles.” A.K.
Paul Verlaine – Clair de Lune (Fêtes galantes, 1869) :
Votre âme est un paysage choisi Que vont charmant masques et bergamasques Jouant du luth et dansant et quasi Tristes sous leurs déguisements fantasques.
Tout en chantant sur le mode mineur L’amour vainqueur et la vie opportune Ils n’ont pas l’air de croire à leur bonheur Et leur chanson se mêle au clair de lune,
Au calme clair de lune triste et beau, Qui fait rêver les oiseaux dans les arbres Et sangloter d’extase les jets d’eau, Les grands jets d’eau sveltes parmi les marbres.
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“The fourth piece is Russian, and it is a Prelude by the Russian-Soviet Dmitry Kabalevsky, No.8 from his cycle of 24 preludes for piano! This cycle is considered one of Kabalevsky’s best compositions, and it definitely deserves to be played much more often than it gets to be these days. Many pianists were absolutely obsessed with this music in the mid-twentieth century, and now I am, too. Kabalevsky wrote his preludes, masterfully incorporating and developing different folk tunes, songs and dances into the texture of his music. I love how the Prelude No. 8 within just two minutes displays a character which is lyrical, slightly ironic, and passionate at the same time.” A.K.
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