These are excellent performances of exceptionally interesting repertoire. Prokofiev himself arranged 19 numbers from his Cinderella ballet for solo piano, so he surely would not have objected in principle to their reworking for two pianos; nor in practice, I suspect, because Pletnev’s arrangements are fabulously idiomatic and the playing here has all the requisite sparkle and drive. Shostakovich’s Op 6 Suite is far too seldom heard. True, it is an apprentice piece and open to criticism – both the first two movements peter out rather unconvincingly and the blend of grandiosity à la Rachmaninov and academic dissection of material à la Taneyev is not always a happy or very original one. But as a learning experience the Suite was a vital springboard for the First Symphony a couple of years later and there is real depth of feeling in the slow movement, as well as intimations elsewhere of the obsessive drive of the mature Shostakovich. What a phenomenally talented 16-year-old he was!
Robots may one day rule the world, but what is a robot-ruled Earth like?
Kristin Rule are cellist/composer/looper from Australia. Her release, 'The Knife that Cuts a Tear', is reaching deep into the hearts and minds of listeners from all walks of life. A composition graduate from the Victorian College of the Arts, Kristin has found her voice in the form of a cello and a loopstation. In performance, her original compositions are created live, layer by layer, mesmerising audiences with exquisite melodies, rich harmonies and beautifully raw sonorities.