Discography
Discography
Since 1894, Tchaikovsky’s Piano Concerto No. 1 has been published and performed in a version containing numerous unauthorized editorial alterations that were added posthumously. This is the first recording using the new scholarly edition by the Tchaikovsky Archive and Museum in Moscow of the 1879 version of the Piano Concerto – the version that was approved and conducted by Tchaikovsky until his last public appearance in 1893.
Read more about this project here.
Awards
Longlist nomination of 2015 Preis der deutschen Schallplattenkritik
BBC Music Magazine Awards 2016 Nomination – Concerto Category
| 1. | Piano Concerto No. 1 in B-flat minor, Op. 23 (1879 version): 1. Allegro non troppo |
| 2. | Piano Concerto No. 1 in B-flat minor, Op. 23 (1879 version): 2. Andantino simplice |
| 3. | Piano Concerto No. 1 in B-flat minor, Op. 23 (1879 version): 3. Allegro con fuoco |
| 4. | Piano Concerto No. 2 in G minor, Op. 16: 1. Andantino |
| 5. | Piano Concerto No. 2 in G minor, Op. 16: 2. Scherzo |
| 6. | Piano Concerto No. 2 in G minor, Op. 16: 3. Intermezzo |
| 7. | Piano Concerto No. 2 in G minor, Op. 16: 4. Finale |
In his first disc with an orchestra – the first of many, we must hope – the versatile American-Russian pianist Kirill Gerstein plays the second version in a world première recording. Even if you do not immediately spot the differences – the softer opening and arpeggio chords, the subtle changes in dynamics or orchestration – this is a performance of such refinement, strength and commitment that you stop worrying. The work, beautifully accompanied by all,takes on new, limpid colours.
The Observer
In his first disc with an orchestra – the first of many, we must hope – the versatile American-Russian pianist Kirill Gerstein plays the second version in a world première recording. Even if you do not immediately spot the differences – the softer opening and arpeggio chords, the subtle changes in dynamics or orchestration – this is a performance of such refinement, strength and commitment that you stop worrying. The work, beautifully accompanied by all,takes on new, limpid colours.
The Observer
