Organised Delirium: Boulez, Eisler, Bartok, Shostakovich, D Scarlatti
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Label: Pentatone
Cat No: PTC5187358
Format: CD
Number of Discs: 1
Genre: Instrumental
Release Date: 14th March 2025
Contents
Works
Piano Sonata, Sz80 BB88Piano Sonata no.2
Piano Sonata, op.1
Keyboard Sonata in B minor, K87
Piano Sonata no.1, op.12
Artists
Tamara Stefanovich (piano)Works
Piano Sonata, Sz80 BB88Piano Sonata no.2
Piano Sonata, op.1
Keyboard Sonata in B minor, K87
Piano Sonata no.1, op.12
Artists
Tamara Stefanovich (piano)About
Boulez’s iconoclast piece is paired with twentieth-century sonatas by Eisler, Bartók and Shostakovich, each questioning the use of the term ‘sonata’, while the programme closes with a return the sonata's origins by way of Domenico Scarlatti. Appearing in the context of Boulez’s centenary, this adventurous album reveals a strong kinship to Stefanovich’s PENTATONE debut Influences (2019), and deepens our understanding of the sonata, its history and its many shapes.
The New York Times lauded Tamara's recent concert performance of Boulez’s Piano Sonata no.2, stating that “Ms. Stefanovich’s performance was staggeringly brilliant”. Praised by The Guardian as “fearless, dazzling, exceptional”, Tamara Stefanovich is one of today’s most adventurous and sought-after pianists. After Influences (2019), Visions (2022) and Nicolaou - Etudes & Frames (2023), she now releases her fourth PENTATONE album.
Sound/Video
Paused
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1Boulez: Piano Sonata No.2: I. Extrčmement rapide
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2Boulez: Piano Sonata No.2: II. Lent
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3Boulez: Piano Sonata No.2: III. Modéré
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4Boulez: Piano Sonata No.2: IV. Vif
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5Eisler: Piano Sonata No.1, op.1: I. Allegro
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6Eisler: Piano Sonata No.1, op.1: II. Andante con moto
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7Eisler: Piano Sonata No.1, op.1: III. Allegro
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8Bartók: Piano Sonata, BB88, Sz.80: I. Allegro moderato
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9Bartók: Piano Sonata, BB88, Sz.80: II. Sostenuto e pesante
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10Bartók: Piano Sonata, BB88, Sz.80: III. Allegro molto
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11Shostakovich: Piano Sonata No.1, op.12
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12Scarlatti: Sonata in B minor, K87
Europadisc Review
Reviews
Stefanovich was able to study the sonata with Boulez, and her dazzling performance conveys a sense of total command and authority in every bar. Her mastery of the extreme technical demands of the piano writing one quickly takes as read, but the way in which she shapes and directs the turmoil of the outer movements, clarifying their swirling counterpoint as much as she can, is exceptional. ... Of the three other 20th-century sonatas in this collection, all composed in the 1920s, it’s Bartók’s that comes closest to matching the Boulez in stature, and to some extent in its feral fierceness. Andrew Clememts
In her booklet comments, Tamara Stefanovich recalls playing Boulez’s Second Sonata for the composer, and how he conducted her playing using ‘generous visionary gestures, always showing where and how to ride the waves of drama’. Such long-lined flexibility informs her recorded performance. ... Stefanovich strives to convey the musicality beneath the manifesto, so to speak. She gives the phrases room to breath and congeal, while shaping the stabbing trills rather than shoehorning them in pursuit of metronomic rectitude, uncovering melodic signposts in the process. ... While Stefanovich faces more incendiary catalogue competition in Bartók’s Sonata (Zoltán Kocsis, Goran Filipec, Murray Perahia and Martha Argerich), few orchestrate the piano-writing so well. ... Likewise, Shostakovich’s early Piano Sonata No 1 receives an intelligently paced and respectful reading that doesn’t foam at the mouth or overshoot its climaxes in the manner of pianists who treat this music like Prokofiev on steroids. Jed DistlerError on this page? Let us know here
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