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Piano Concerto No. 2

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Product Details

  • Composer: Tcherepnin Alexander
  • Audio CD (Feb. 22 2005)
  • Number of Discs: 1
  • Label: Fed
  • ASIN: B0007ORE2G
  • Other Editions: MP3 Download
  • Average Customer Review: Be the first to review this item
  • Amazon Bestsellers Rank: #322,105 in Music (See Top 100 in Music)
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Amazon.com: HASH(0xa0fda5b8) out of 5 stars 1 review
3 of 3 people found the following review helpful
HASH(0xa5e7ef24) out of 5 stars A voice that deserves not to be forgotten, and this release serves that purpose well Nov. 16 2007
By Discophage - Published on Amazon.com
Format: Audio CD Verified Purchase
Sometimes, for reasons unknown, the same CD will appear on this website under two different entries, and this is the case with this one: Alexander Tcherepnin: Piano Concerto No. 2 / Symphony No. 2 / Suite for Orchestra. At the time of writing it is cheaper here, but my detailed review is under the other entry.

It is a reissue of three Louisville recordings that were published in their days on the Orchestra's First Edition Recordings LP: the 1922-3 Second Piano Concerto (recorded in mono in 1961, but with a fine sense of depth), the 1951 Second Symphony (full 1965 stereo) and the 1954 Suite, a Louisville commission (distant 1954 mono). The style in the Piano Concerto is broadly reminiscent of Prokofiev's first two piano concertos, but Tcherepnin has a fine sense of color and a deft hand at constructing an original form. The stylistic evolution to the Second Symphony isn't glaring, although it is the neo-classical Stravinsky of the 1930s and 40s that here fleetingly comes to mind. But in both these compositions Tcherepnin is sufficiently personal not to sound derivative, and again in the Symphony he shows his fine sense of orchestral color, especially in the original and beautiful slow second movement, introduced by beautifully hushed violins playing in their upper registers, and followed by lush bird chirping on woodwinds and solo violin. The Suite I do not find as interesting, sounding at times like music for a Broadway comedy or the "gebrausch-music" any second-tier American composer might have written in those years for Balanchine or Martha Graham.

Stil, as I conclude in my longer review, Tcherepnin's is a voice that deserves not to be forgotten, and this First Edition release serves that purpose well.