Most listeners will never have heard the name Ivan Khandoshkin (1747-1804), but violinist Anastasia Khitruk has admirably undertaken to bring this little-known solo-violin repertoire to wider attention. Published in the early years of the 19th century, Khandoshkin’s Op. 3 sonatas show the influences we might expect, given the composer’s exposure to a court musical environment that included musicians from Italy, Germany, and France.
There is, of course, no shortage of Romantic-era violin concertos in the instrument's standard repertoire. None of them found with any regularity on the concert stage, however, hail from Denmark. This DaCapo album demonstrates that there are indeed examples that come to us from the Scandinavian country, and even that some of them are inexplicably excluded from the modern canon.
Eduard Ivanovich Bagdasarian was a key figure in the modern development of Armenian music, and his piano works have a unique importance in an oeuvre which covered almost every genre. The tremendously varied 24 Preludes encompass all of the major and minor keys with the added colour of Armenian modes. This mastery of miniature forms contrasts with the impassioned and ambitious Rhapsody, while the archetypally Romantic Nocturne draws on the tradition of the great Russian Adagio.
These sparkling performances of Saint-Saëns' violin concertos are a fitting start to Hyperion's new series of Romantic Violin Concertos; a follow on from the highly successful Romantic Piano Concerto series.
Tamara Anna Cislowska is one of the best known and awarded Australian pianists of her generation. She has performed as a soloist across five continents and is renowned for her wide-ranging repertoire and exciting performances. In addition to spanning 300 years of music from Scarlatti to Sculthorpe, Tamara thrills audiences with her own transcriptions and arrangements of popular melodies. This release consists of a collection of dramatic, ghostly and macabre 19th century solo piano works.