Lourie - Solo Piano Works
£23.70 £18.96
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special offer ending 25/06/2024
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Label: Capriccio
Cat No: C5281
Format: CD
Number of Discs: 3
Genre: Instrumental
Release Date: 14th October 2016
Contents
Works
A Phoenix Park NocturneBerceuse de la chevrette
Dvevnoj uzor (Daytime routine)
Estampes (1910)
Formes en l'air
Gigue
Intermezzo
Marche
Masques (Tentations)
Mazurkas, op.7
Menuet (after Gluck)
Nash Marsh (Our March)
Nocturne
Osibka barysni smerti (Death's Mistake)
Petite Suite in F major
Poemes (2), op.8
Poemes (4), op.10
Preludes fragiles (5), op.1
Rojal'v detskoj (Piano in the nursery)
Sonatine no.3
Syntheses, op.16
Toccata
Upmann, A Smoking Sketch
Valse
Artists
Moritz Ernst (piano)Oskar Ansull (narrator)
Works
A Phoenix Park NocturneBerceuse de la chevrette
Dvevnoj uzor (Daytime routine)
Estampes (1910)
Formes en l'air
Gigue
Intermezzo
Marche
Masques (Tentations)
Mazurkas, op.7
Menuet (after Gluck)
Nash Marsh (Our March)
Nocturne
Osibka barysni smerti (Death's Mistake)
Petite Suite in F major
Poemes (2), op.8
Poemes (4), op.10
Preludes fragiles (5), op.1
Rojal'v detskoj (Piano in the nursery)
Sonatine no.3
Syntheses, op.16
Toccata
Upmann, A Smoking Sketch
Valse
Artists
Moritz Ernst (piano)Oskar Ansull (narrator)
About
in Russia in 1892 as Naum Izrailevich Lur'ya, but there is also evidence to suggest he was born a year earlier in 1891. A Jew by birth, he converted to Christianity at the age of 21, distinguishing himself as a charismatic bohemian and Soviet cultural politician. He left Russia on a supposed official journey to Berlin in 1922, from which he never returned. A pioneer of Modernism in music, he received his inspiration from the company of poets and painters of the Silver Age, his musical output a reflection of that community’s considerable diversity. During his years in Russia, his compositions defied a single categorisation; he admired Ferrucio Busoni’s maxim that a composer should never repeat himself, but find a new artistic solution for each work. Paradoxically, many of the works he wrote during his exile in France (1924-1941) sound more Russian than those he produced in his place of birth. But it’s interesting to note that Stravinsky’s percussive piano style remained completely alien to him, despite his decade-long collaboration and friendship with the composer.
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