Ravel: Pavane pour une infante defunte; Miroirs; Gaspard de la Nuit
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Following a much-praised first recording dedicated to Russian piano sonatas and a second featuring concertos by Prokofiev and Ravel, the third recording by the acclaimed young Russian pianist Anna Vinnitskaya for Naïve presents two of Ravel's greatest solo piano works, Gaspard de la Nuit and Miroirs. Anna Vinnitskaya was born in 1983 in the Russian city of Novorossiysk. She began piano lessons at the age of six with her mother, and played her first solo recital at the age of nine. She has won several international awards, most notably first prize at the Queen Elisabeth International Music Competition in Brussels in 2007, and the Leonard Bernstein Award at the Schleswig-Holstein Music Festival in 2008. Still only 27, she has been compared to legendary performers such as Martha Argerich and Sviatoslav Richter. For her first concerto recording for Naïve which was released in January 2011 she chose two masterpieces from the early 20th century, Prokofiev's Piano Concerto No. 2 in G Minor, and Ravel's Concerto in G. Anna Vinnitskaya's debut CD, a programme of works by Rachmaninov, Gubaidulina, Medtner and Prokofiev, was released in April 2009, and was awarded the 'Diapason d'Or Découverte' as well as being nominated for a Midem Classical Award in the Solo Instrumental category. Personnel: Anna Vinnitskaya (piano)
It is with a delicate, beautifully voiced account of the Pavane pour une infante defunte that Anna Vinnitskaya gently eases herself into this Ravel recital, indicating an affinity with the style that is immediately underlined by the glistening qualities and characterisation of the set of Miroirs. --Daily Telegraph, June 2012
Top Customer Reviews
Therefore, for the sake of thoroughness, and especially to avoid unfairness, Vinnitskaya's interpretations of these Ravel perennials were auditioned "alongside" recordings already in the possession of this reviewer.
The news is all good. "Sensitive" and "measured" are just two of the adjectives which spring to mind readily with respect to Vinnitskaya's reading/playing of these works.
Her "Pavane" is at least as good as that of Cécile Ousset, which is to be found on here:
100 Best Piano
Her "Miroirs" is at least as good as that of Werner Haas, whose interpretation is here:
Ravel: Complete Music for Piano Solo/Piano Concertos
Finally, Vinnitskaya's "Gaspard" compares favourably even with a fine interpretation by Martha Argerich, which is to be found here:
Ravel: Piano Concerto
To summarise, then, this CD presents few discernable flaws. Vinnitskaya is mightily impressive. This collection should certainly furnish a most welcome addition to any CD library.
Buy it. Buy the Haas and the Argerich, too.