REGISTER NOW AND GET • 5 FREE tracks! • 101 tracks for $9.99
ClassicsOnline Home » TCHAIKOVSKY, P.I.: 18 Morceaux, Op. 72 (Shamray) > Review List
Tchaikovsky completed his last set of piano pieces about six months before his death. Each bears a dedication to a friend or colleague including distinguished musicians such as Paul Pabst, Vasily Sapelnikov and Vasily Safonov. The 18 pieces are no mere salon effusions; rather they are richly characterised, sometimes virtuosic, and perfectly crafted miniatures. Schumann and Chopin are deliberately evoked, the music embracing a rich variety of dance, melancholy, fantasy and bravura. The set is played by the brilliant young prizewinner of the Sydney International Piano Competition in 2008, Konstantin Shamray.
Konstantin Shamray’s Tchaikovsky makes me smile… © 2012 Fanfare
Shamway’s understanding of the rhythmic flexibility required in Tchaikovsky’s style, his good taste in not taking it too far, and his truly impressive technique result in joyful music-making from the first phrase of the jaunty opening Impromptu to the final “Scène dansante.”
Each piece is dedicated to a different colleague, pupil, or friend, and Tchaikovsky gave them an order that offers nice contrasts between tempos and moods. The scintillating Scherzo-Fantasy is op. 72’s high point of bravura, and the Berceuse and “Chant élégiaque” are expansive, lyric effusions. The pieces in the manner of Chopin and Schumann aren’t as uncanny as Schumann’s Chopin and Paganini impersonations in Carnaval , but they are a lot of fun.
The unhackneyed repertoire and the charm, color, and brilliance of Shamway’s playing make this one of the most enjoyable piano discs that I’ve heard in a long time. © 2012 Fanfare Read complete review
This is most welcome: a very well played and recorded traversal of Tchaikovsky’s last set of solo piano pieces…
Pianist Shamray gets just about everything right. He doesn’t shy away from the hints of the other great romantic piano masters, but he retains Tchaikovsky’s unique voice. Few composers could spin out a melody like Tchaikovsky, but the piano is a percussion instrument. It’s much harder to express lyricism on it than with the string section of a symphony orchestra. But Mr Shamray does it! There are plenty of vigorous passages, too, but he doesn’t pound those out.
This is a model of a properly made piano recording. © 2012 American Record Guide Read complete review on American Record Guide online
Shamray proves he has a musical gift which provides much interest throughout this recording. © 2012 International Record Review
these short pieces are beautiful…from the very first note Tchaikovsky transports you into another world with such consummate skill you are left in no doubt that you are in the hands of a genius. He writes with such breathtaking ease you are simply left to marvel at it. Each of these eighteen pieces…is a miniature masterpiece and they all punch well above their weight. From lullabies to mazurkas, from waltzes to meditations, these little gems sparkle with light and are simply delightful. Playing them here is a young Russian pianist Konstantin Shamray…The description of him as having “dynamite in his fingers” is aptly deserved. This is a thoroughly enjoyable disc with well written and documented notes by Keith Anderson giving a background to each piece. © 2012 MusicWeb International Read complete review
Las minituras que componen estas 18 Piezas para piano op. 72 son los fragmentos del testamento pianístico de Tchaikovsky, escrito seis meses antes de su fallecimiento. Raramente grabadas—y menos interpretadas en las salas de concierto—estas piezas dedicadas una por una a varias personalidades y amistades del ruso, manifiestan sin tapujos su amor a Chopin y Schumann a través de una gran variedad estilística y formal, que van desde la danza hasta las meditaciones, desde la bravura al intimismo. Todo un reto musical que Konstantin Shamray, en su debut en Naxos, afronta sin reservas, exhibiendo un gran potencial técnico—como se puede escuchar en el Scherzo-Fantasie o la Polacca de concert—que le permite recorrer sin problemas puntos peligrosos de las partituras. A su favor tiene también la magnífica manera de cantar las melodías claramente presentes sobre el resto, amplias y matizadas, así como la elección de las velocidades, siempre adecuadas. En Chant élegiaque, además de poner de manifiesto esto último, demuestra que la poesía tampoco le es ajena, alcanzando momentos notablemente emocionantes. Una opción, con todo ello, de mayor relación precio-calidad que la de Pletnev en DG. © 2012 Ritmo
Im Frühjahr 1893, parallel zu seiner 6. Symphonie, komponierte Piotr Tchaikovsky “um etwas Geld zu verdienen”, wie er an seinen Bruder schrieb, seine Klavierstücke op. 72. In einer anderen Nachricht sprach er von “seinen musikalischen Pfannkuchen”. Die Ideen kämen ihm nur so zugeflogen, steht in einem weiteren Brief. Die 18 Stücke sind nun wirklich keine Salonmusik, sondern sehr differenzierte, häufig virtuose und perfekt durchkomponierte Miniaturen.
Der 26-jährige, aus Sibirien stammende Russe Konstantin Shamray, hat diese Musik ganz klar verinnerlicht und spielt mit einer wunderbaren Eloquenz. Ein feiner Anschlag, eine prächtig entwickelte Dynamik, größte Klarheit im Vortrag, ein im Endeffekt immer schöner Klavierklang und ein spontanes Gestaltungsvermögen lassen diese 18 Stücke zu einem Genuss werden, nicht zuletzt, weil Shamray die einzelnen Kompositionen sehr gut differenziert und jedem seinen eigenen klanglichen Charakter gibt. © 2012 Pizzicato