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BI 1828
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BI 1828

Piano Recital: Sudbin, Yevgeny - LISZT, F. / RAVEL, M. / SAINT-SAENS, C.

The Classical Shop
release date: December 2012

Recorded in 24 Bit / 44.1Khz
album available as a Studio Master
Originally recorded in 2012


Yevgeny Sudbin



St Georges, Bristol, England

Record Label




Total Time - 71:46
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Piano Recital: Sudbin, Yevgeny - LISZT, F. / RAVEL, M. / SAINT-SAENS, C.

Select Complete Single Disc for



Harmonies poetiques et religieuses, S173/R14


12 Etudes d'execution transcendante, S139/R2b

2 No. 10 in F minor, "Appassionata" 4:28
3 No. 11 in D flat major, "Harmonies du soir" 8:41

Annees de pelerinage, 2nd year, Italy, S161/R10b

4 No. 4. Sonetto 47 del Petrarca (Sonnet 47 of Petrarch) 4:59
5 No. 5. Sonetto 104 del Petrarca (Sonnet 104 of Petrarch) 5:42
6 No. 6. Sonetto 123 del Petrarca (Sonnet 123 of Petrarch) 6:30



Gaspard de la nuit

7 I. Ondine 6:33
8 II. Le gibet 6:22
9 III. Scarbo 9:26



Danse macabre, Op. 40 (arr. F. Liszt, V. Horowitz and Y. Sudbin for piano)

 Yevgeny Sudbin Soloist

 Following a series of highly acclaimed recordings dedicated to individual composers, Yevgeny Sudbin has combined works by Liszt, Ravel and Saint-Saëns into a recital with the three-stranded theme Love, Delirium and Death. First to make its presence felt is death, in Funérailles, Liszt’s grandiose elegy for his Hungarian countrymen who died in the 1849 uprising against Habsburg Rule. It reappears in Ravel’s depiction of a hanging – Le Gibet (The Gallows) from the triptych Gaspard de la Nuit – and closes the programme in Saint-Saëns’ Danse macabre in which Death personified provides the music for a morbid ballet of corpses, playing a fiddle and tapping his foot on a tombstone. Love enters the programme with the Petrarch Sonnets, originally song settings by Liszt of three of the many poems in which Petrarca immortalized Laura, the object of his life-long but unrequited passion, and later reworked for piano solo by the composer. A similarly hopeless attraction is described in Ravel’s Ondine – the tale of a water nymph tempting a mortal to join her in the depths of the lake. Delirium, finally, is present throughout the album – most manifestly in the nightmarish portrait of the goblin Scarbo, but also as an essential ingredient in many of the other works. The programme thus poses a huge challenge for the performer in terms of transmitting a wealth of super-charged emotions and images while simultaneously negotiating immense technical demands – a worthy task for Sudbin, whose Scriabin interpretations were described in BBC Music Magazine as being ‘as terrifyingly changeable and emotionally all-engulfing as the music itself’, while his Rachmaninov disc to the reviewer in Piano Magazine revealed ‘a musical dramatist of exceptional acumen and sophistication; a poet who moves seamlessly between unbridled rhetoric and extreme intimacy; a stylist who catches the particular spirit of everything he plays…

 "The repertoire on this disc immediately presupposes a very formidable technique and the highest level of musicianship. Yevgeny Sudbin delivers both. The first thing I thought listening to Liszt’s Funérailles was what profound music it is. This is an artist really at the service of the composer. We have two of the Transcendental Studies, three Petrarch Sonnets, Ravel’s great tryptich Gaspard de la Nuit, after which the Saint-Saëns Danse Macabre comes almost as light relief. A wonderful disc: really great playing, and outstanding sound." ****½

Phil Carrick - - April 2013

                     ***    Good Album

Franck Mallet - Classica magazine - April 2013

 "In this compilation, Sudbin proves once again that he is a superb artist who approaches every piece with great thoughtfulness and attention to detail..."

Sang Woo Kang - American Record Guide - 2013

"Yevgeny Sudbin’s ultra-demanding recital is lovingly chosen to suggest a wealth of subtle inter-relationships. And, in an age of much standardised playing, his performances are vividly personal both in technique and in character... Sudbin’s accompanying essay is as vital and vivifying as his playing and BIS’s sound is of the highest quality. This is a record I shall return to for an ever-renewed sense of wonder and fascination."
Bryce Morrison - Gramophone magazine - February 2013

                        Performance (Liszt) *****     (Ravel) **      (Saint-Saens) ****      Recording *****

Malcolm Hayes - BBC Music magazine - February 2013

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