Études are primarily intended as exercises to train musicians in specific techniques, but since the Romantic era they have become associated with other miniature forms, such as the prelude and the intermezzo, and frequently regarded as evocative character pieces or tonal pictures. Garrick Ohlsson's album of piano études by Claude Debussy, Sergey Prokofiev, and Béla Bartók offers a brief survey of the genre in modern practice, and demonstrates the blending of pedagogy and poetry in these works. Ohlsson has become internationally known as an exquisite interpreter of the music of Frédéric Chopin, and much of the subtlety and atmosphere found in his previous recordings is present here. Ohlsson's finesse and humor are perhaps most evident in Debussy's Études, L. 143, which have a lighter character than Prokofiev's Études, Op. 2, which tend toward the sardonic side, and Bartók's Études, Op. 18, which are intensely virtuosic and mysterious. Hyperion's recording captures the nuances of Ohlsson's playing, and the piano is close enough to hear every detail, while the acoustics lend it a pleasant natural aura.
This is the second release on ONYX from the amazing Moscow Soloists and their charismatic director, the great Yuri Bashmet. Their first ONYX release was of Chamber Symphonies by Shostakovich, Sviridov and Vainberg (ONYX4007) which gained excellent reviews, including a Grammy 2007 nomination. This disc combines two great Stravinsky works for strings: the marvellous neo-classical ballet Apollon musagète (in the revised 1947 version entitled simply Apollo) and the post-war Concerto in D for strings, with a genuine novelty: in 1962 Rudolf Barshai arranged for his own Moscow Chamber Orchestra 15 of the 20 Visions fugitives that Prokofiev wrote for solo piano between 1915-17. Now Roman Balashov, manager and violist in the Moscow Soloists has completed the set for this world première recording. These are exciting miniatures which truly benefit from the added colours a string orchestra can bring.
Sergey Prokofiev's output for violin and piano was quite small, and it would have been limited to the Violin Sonata No. 1 in F minor had he not also arranged his Five Songs Without Words and the Flute Sonata in D major, the latter at the request of David Oistrakh. One experiences a degree of discomfort in the Violin Sonata No. 1, which is one of Prokofiev's more unsettling pieces, due in part to its sinister tone and harsh dissonances, but also to its conflicting expressions.