Piano Sonatas 1 & 4

Miaskovsky (Artist), Hegedus (Artist) | Format: Audio CD

Product Details

• Audio CD (August 8, 1994)
• Number of Discs: 1
• Label: Marco Polo
• ASIN: B0000045Z2
• In-Print Editions: MP3 Download
• Average Customer Review: 4.0 out of 5 stars  See all reviews (1 customer review)
• Amazon Best Sellers Rank: #1,146,066 in Music (See Top 100 in Music)

Editorial Reviews

Amazon.com

Miaskovsky's piano sonatas are a very little-known body of work still in need of rediscovery. The First Sonata, very well described in the intelligent program notes, shows the composer still finding his way out of late Romantic influences, particularly that of Scriabin. The Fourth Sonata is one of Miaskovsky's masterpieces, a devastatingly energetic work in the manner of his friend Prokofiev. (Or perhaps Prokofiev sounds Miaskovskian? The influences certainly went both ways.) Endre Hegedüs offers by far the better played of two current versions. This recording is a treat for lovers of Russian piano music. --Leslie Gerber

Customer Reviews

Most Helpful Customer Reviews

4.0 out of 5 stars Late Romantic Russian Piano Sonatas, November 28, 2007

By 

J Scott Morrison (Middlebury VT, USA) - See all my reviews
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This review is from: Piano Sonatas 1 & 4 (Audio CD)

Nikolai Miaskovsky (sometimes spelled Myaskovsky) (1881-1950) is primarily known for his twenty-seven symphonies, all of which have now been recorded. He was primarily known during his lifetime as a composition teacher, but his symphonies were played with some frequency. His nine piano sonatas are not nearly as well known. On this disc we hear Nos. 1 and 4, which came fifteen years apart. The First, written in 1907-10, is, aside from the rather academic fugal first movement, a product of the perfumed salons which spawned the music of early Scriabin and Medtner. The third movement, marked Largo espressivo, is particularly lovely and although there are again extensive fugal passages in this movement, it nonetheless sings. The finale is a fervent late Romantic peroration of what has gone before.

The Fourth Sonata, written in 1924, is in three movements and is a more emotionally complex work. It begins with a massive sonata allegro that has dissonance, expert counterpoint, oddly touching lyricism and glittering fingerwork, and it ends with funereal minor-key tolling bells. The middle movement, Andante non troppo quasi Sarabanda, was originally written in 1917 for a suite called 'Sketches', but was revised and incorporates some of the first movement's thematic material. It is a sadly lyrical movement that trudges its way to a somewhat more hopeful middle section before descending again to its beginning melancholy. The finale is a polytonal perpetuum mobile that manages to sound almost lighthearted at times, although its overall tone is one of turmoil and doubt. There is some respite in the mostly serene middle section. The sonata ends with what sounds like a slightly frightened declaration that all is well. This is a magnificent work, worthy of greater exposure.

Hungarian pianist Endre Hegedüs concertizes, has made number of CDs and teaches at the famous Liszt Academy in Budapest. His is a new name to me. His playing is technically secure and musically fine but lacks the last degree of éclat that this music demands. Recorded sound on this 1991 disc is only average, but it is acceptable.

Scott Morrison