ショスタコーヴィチ: 前奏曲集&ピアノ・ソナタ第1番＜限定盤＞

ロシア出身のピアニスト、アンドレイ・ググニンがショスタコーヴィチの前奏曲集とピアノ・ソナタ第1番を録音した、ハイペリオンからの2019年のデビュー・アルバムです。「非常に際立つ」「凄絶な新たな才能」「衝撃的」などという言葉で称賛されました。ググニンは2016年シドニー国際ピアノ・コンクールの優勝者で、『グラモフォン』誌は「彼のピアノ演奏はいつまでも聴いていられる」と評しています。
※180g重量盤、Gatefold仕様
ユニバーサル・ミュージック/IMS

The most significant of Dmitry Shostakovichs solo piano works are presented on Andrey Gugnins 2019 release from Hyperion, reflecting three stages of his development from student composer to mature master. The Piano Sonata No. 1 was originally subtitled October Symphony, and was intended as a tribute to the October revolution of 1917, though the overt association was dropped when Shostakovich dubbed his Symphony No. 2 in B flat major To October. Composed in 1926, this wild and impulsive sonata is from Shostakovichs most experimental period, and demonstrates the young composers eagerness to join the avant-garde. Similarly inventive, though more concentrated on a tonal scheme based on the circle of fifths, were the 24 Preludes and Fugues (1932-33), which reveal a greater contrapuntal discipline and control of materials. Between this set and the Sonata No. 2 in B minor of 1943, Shostakovich had been chastised by the Soviet authorities in 1936 for his opera, Lady Macbeth of the Mtsensk District, and he turned to a more accessible and melodic style that may have kept him alive. This sonata, and the Nocturne excerpted from the ballet, The Limpid Stream, are perhaps the most conventional sounding pieces here and less stylistically identifiable, but Gugnins thoughtful performances bring the program together, not as a full portrait of Shostakovich the composer, but as a consideration of his adaptability to the changing times and his genius in many forms and styles.