Mussorgsky: Pictures from an exhibition; Prokofiev: Visions fugitives & Sarcasms – Steven Osborne Hyperion

Pictures from an exhibition[35’47]Modest Musorgsky (1839-1881)
1
Promenade 1[1’17]
2
No 1: Gnomus[2’48]
3
Promenade 2[0’51]
4
No 2: The Old Castle (Il vecchio castello)[4’37]
5
Promenade 3[0’25]
6
No 3: Tuileries. Children quarrelling after play[0’58]
7
No 4: Bydło (A Polish Ox-cart)[3’50]
8
Promenade 4[0’50]
9
No 5: Ballet of the unhatched chicks[1’10]
10
No 6: Two Polish Jews, one rich, the other poor (Samuel Goldenberg and Schmuyle)[2’21]
11
Promenade 5[1’15]
12
No 7: Limoges, the market place[1’22]
13
No 8a: Catacombae. Sepulchrum Romanum[2’45]
14
No 8b: Con mortuis in lingua mortua[2’12]
15
No 9: Baba Yaga (The hut on fowl’s legs)[3’19]
16
No 10: The Great Gate of Kiev[5’47]
Sarcasms Op 17[10’35]Serge Prokofiev (1891-1953)
17
Tempestoso[1’56]
18
Allegro rubato[1’10]
19
Allegro precipitato[1’43]
20
Smanioso[2’09]
21
Precipitosissimo[3’37]
Visions fugitives Op 22[19’36]Serge Prokofiev (1891-1953)
22
Lentamente[1’01]
23
Andante[1’10]
24
Allegretto[0’47]
25
Animato[0’58]
26
Molto giocoso[0’23]
27
Con eleganza[0’24]
28
Pittoresco[1’47]
29
Comodo[0’57]
30
Allegretto tranquillo[1’04]
31
Ridicolosamente[0’48]
32
Con vivacità[1’08]
33
Assai moderato[0’54]
34
Allegretto[0’29]
35
Feroce[0’55]
36
Inquieto[0’51]
37
Dolente[1’23]
38
Poetico[0’58]
39
Con una dolce lentezza[1’08]
40
Presto agitatissimo e molto accentuato[0’43]
41
Lento[1’48]

Steven Osborne has become one of the most valuable pianists recording today. His recent complete Rachmaninov Preludes release was critically acclaimed as the greatest modern version since Ashkenazy. Now he turns to further cornerstones of the Russian repertoire in this recording of Musorgsky’s Pictures from an Exhibition (a work which has been in Osborne’s concert repertoire for many years), and two sets of Prokofiev’s miniatures.

Musorgsky’s masterpiece is one of the most popular programmatic works of the 19th century. Yet it is also a great pianistic challenge, with the spectacular textures of the climactic movement ‘The Great Gate of Kiev’ requiring the highest technical accomplishments.

David Fanning writes of Prokofiev’s Visions fugitives: ‘Prokofiev supplies snapshots of his most characteristic moods—sometimes grotesque, sometimes incantatory and mystical, sometimes simply poetic, sometimes aggressively assertive, sometimes so delicately poised as to allow the performer and the listener to make up their own minds.’ Osborne’s subtle, yet brilliant use of colour and characterization makes him the ideal performer of this set. Sarcasms—as befits the title—is an experimental, provocative work, performed by Osborne with biting humour.