KONSTANTIN SCHERBAKOV SOIRÉE RUSSE

KONSTANTIN SCHERBAKOV SOIRÉE RUSSE

Philharmonics of the Nations, Munich Symphony, George Enescu Philharmonic Bucharest, Weimarer Staatskapelle, Sofia Philharmonic, Bach Collegium Munich, Montreal Symphony, New Zealand Symphony, Singapore Symphony, Ukrainian and Lithuanian State Symphony Orchestras, Ulster Orchestra, Wiener Kammerorchester etc. In 2002, he started his collaboration with the Milan orchestra I Pomeriggi Musicali and Orchestra da Camera di Padova performing as a soloist and conductor. Konstantin Scherbakov s constantly growing discography comprises 34 CDs featuring around 300 titles. Many recordings received prizes and awards such as Preis der Deutschen Schallplattenkritik and the Cannes Classical Award. The pianist was one of the first artists signed by EMI Classics for their Debut-Series. In 1995 he became a BBC International Artist. During the 2010-2011 season Konstantin Scherbakov gave his debut on the South American continent playing with the Brazilian Symphony Orchestra and a recital in Buenos Aires, his schedule included also a concerto appearance in Sao Paulo with the Sao Paulo Symphony Orchestra, he returned to Korea with the Prague Radio- Symphony Orchestra following his highly successful debut concerto tour of the country with the Moscow Philharmonics in 2010. One of the highlights of the last season (2011-2012) was a concert with the Weimarer Staatskapelle under Christian Thielemann in Weimar - a live broadcast performance of Liszt s works dedicated to the European Liszt 200-Anniversary Day. In his agenda there are also solo performances in Zurich, New York, in Germany and South Africa, a recital tour of Korea, Japan and China and festivals appearances in Switzerland, France, Taiwan, Japan and Italy. Born in Barnaul, Russia Konstantin Scherbakov made his debut with the philharmonic orchestra of his native town at the age of 11, performing Beethoven Piano Concerto No. 1. Soon after, he moved to Moscow to continue his musical education at the Moscow Tchaikovsky Conservatoire with the legendary professor Lev Naumov. The triumphant winner of the 1. Rachmaninoff Competition in 1983, Konstantin Scherbakov performed with all the leading orchestras of the former Soviet Union, and played recitals in more than 100 cities in all republics of his native country. After winning an array of prizes at prestigious international competitions (Montreal, Bolzano, Rome, Zurich), Scherbakov launched his international career in 1990 at the XXth Chamber Music Festival of Asolo, where he performed the complete Rachmaninoff s works for piano solo in four recitals, to the manifest approval of Sviatoslav Richter. Since 1992 Konstantin Scherbakov has lived with his family in Switzerland. Much of his time he spends in Spain and in Russia. Since 1998 the pianist has been professor at the Zurich University of the Arts. He is a jury member in major international competitions (such as ARD Munich, Busoni in Bolzano, Liszt in Weimar, and among others Rio de Janeiro, Seoul, Havana etc.) and he regularly holds master classes all over the world (Germany, Italy, Switzerland, New Zealand, Singapore, Cuba, Russia, South Africa, Brazil, Japan). Many of his students won prizes and awards at international competitions, most recently Yulianna Avdeeva, the winner of the last International Chopin Competition in Warsaw 2010.

KONSTANTIN SCHERBAKOV... One of the most capable, daring and interesting musicians of these days. Peter Cossé With the recent release of the complete concerto works by Tchaikovsky, Konstantin Scherbakov s endless repertoire accomplishments continue to amaze. A very special repertoire choice has formed the artist s profile with the accent on rarely performed and highly demanding virtuoso programs, often comprising of works that were considered unplayable before. In co-operation with the labels Naxos and Marco Polo Scherbakov has realized some of today s most unique and significant recording projects. Among them complete piano works by Leopold Godowsky, Respighi and Shostakovich, and complete piano concertos by Tchaikovsky, Respighi, Medtner and Scriabin. The most recent and highly acclaimed recording project was The Complete Beethoven Symphonies in piano arrangement by F. Liszt. Many of these projects have found their way onto the concert stage. For his cycle of the Complete Rachmaninoff s works Scherbakov gained recognition as Rachmaninoff of Today (Lucerne Music Festival). The two-evening performance of the complete Preludes and Fugues by Shostakovich at different venues, notably at the Salzburg Festival was enthusiastically met by both public and press ( One cannot play Shostakovich any better! Die Presse, Vienna). Lately, Scherbakov has received international acclaim for his performances of Liszt s transcriptions of the Beethoven Symphonies. Konstantin Scherbakov has given solo performances in 35 countries in Europe, Asia and Middle East, in the USA, New Zealand, South Africa and South America. He has played in some of the most prestigious concert halls such as Philharmonic of Cologne, Wigmore Hall London, Herkulessaal, Philharmonic and Prinzregententheater Munich, Tonhalle Zurich, Liederhalle Stuttgart, Great Hall of the Moscow Conservatoire, Beethovenhalle Bonn, new Congress-Hall Luzern, Concertgebouw Amsterdam, Musikhalle Hamburg, St. Petersburg Philharmonic, Konzerthaus Berlin, Rudolfinum Prague, Atheneum Bucharest, Casal Hall Tokyo, Victoria Hall Singapore, Gewandhaus Leipzig, Konzerthaus Vienna and Warsaw Philharmonic Hall among others. Konstantin Scherbakov has been guest to important international music festivals such as Salzburg, Frankfurt, Bregenz, Bodensee, Lucerne, Klavier-Festival Ruhr, Bad Kissingen, Schubertiade Feldkirch and Schwarzenberg, Singapore Piano Festival, Piano Rarities Husum, Beethoven Festival Krakau and Warsaw, Lebanon Music Festival, Primavera concertistica Lugano, Evian, Colmar, Liszt Festivals in Raiding and Weimar, Piano Festival Lucerne, and among others - numerous festivals in Italy, France, New Zealand, USA, Russia, and Switzerland. Boasting a phenomenal concerto repertoire of over 50 concertos, Konstantin Scherbakov performed as soloist with more than 60 orchestras, among with the Russian State Philharmonic, Moscow State Symphony, Moscow Philharmonic, St. Petersburg Symphony, Stuttgart and Duisburg Philharmonic, Tonhalle Orchestra,

SOIRÉE RUSSE - KONSTANTIN SCHERBAKOV Russia has long been seen as a source of musical inspiration in the West. The Romantics in particular found the music of Russia fascinating, and public interest in Russian music has no doubt been fuelled by a general curiosity about sounds that seem exotic to Western ears. It is by these means that Russian art music has found its way onto Western stages with regularity since the latter half of the nineteenth century. Today, a repertoire without Tchaikovsky, Mussorgsky, Rimsky-Korsakov, Rachmaninoff, Prokofiev or Shostakovich would simply be unthinkable; and by extension, a piano repertoire without the Russian masters, unimaginable. This recording features a Russian pianist, Konstantin Scherbakov, playing an all-russian program. It is perhaps then ironic that the featured program begins with a piece that is best known to modern listeners in an orchestral version orchestrated by a French impressionist. The composer in question is Modest Mussorgsky (1839-1881), and the work cryptically referred to in the previous sentence is the famous Pictures at an Exhibition: A Remembrance of Viktor Hartmann. This suite, originally intended for performance on piano, was orchestrated by French composer Maurice Ravel in 1922. That orchestration has become particularly famous, and is probably the most frequently recorded version of the work. However, the ubiquity of the Ravel orchestration in recording catalogues has not prevented the original version from becoming a standard of the piano repertoire. The Viktor Hartmann alluded to in the title was an artist and architect with whom Mussorgsky had made acquaintance some years before penning the work. Like Mussorgsky, Hartmann (1834-1873) was something of a Russian nationalist one often finds his name associated with the Russian Revival school of architectural design. Together with Mikhail Mikeshin, Hartmann was involved in the design of the elaborate Millennium of Russia monument, which today stands at the Novgorod Kremlin. Built in 1862, it was at the time the most expensive monument ever built in Russia. (An aside: during the Nazi invasion of Russia in the Second World War, Hartmann s famous monument was actually dismantled by the invaders. Hitler intended to have the monument shipped back to Germany as a war trophy a symbol of Nazi Germany s defeat of Mother Russia and her culture. However, the harsh Russian winter saw the invasion being repelled by the Red Army, aided by strong partisan resistance. Hitler s Eastern blunder ultimately sealed the fate of Berlin, but not before countless innocent lives had been lost. After the War, the Millennium of Russia was restored to Novgorod, where it stands today. This little aside is interesting because there is another connection to the Second World War featured on this program, in the form of Prokofiev s Stalingrad Sonata.)

Mussorgsky met Hartmann via the critic Vladimir Stasov, who had introduced the artist into the musical circle surrounding Mily Balakirev. Hartmann left a great impression on Mussorgsky, and the two became friends. It was the 39-year old Hartmann s tragically premature death from the effects of an aneurysm that spurred Mussorgsky to compose a work in his honour. In February and March of 1874, the year following the artist s death, the Academy for Fine Arts in St. Petersburg exhibited about 400 of Hartmann s sketches, drawings and paintings. Mussorgsky, inspired by both the exhibition and the memory of his friend, set out to write a suite of programmatic music depicting a visit to the exhibition. The resulting Pictures at an Exhibition, completed in 1874, is a colourful and fantastical collection of musical images, marked by moments of sadness and reflection. Unfortunately, unlike the Millennium of Russia, many of the drawings and watercolours from the Hartmann exhibition are now lost, so all we have to remember them by are Mussorgsky s musical impressions. Pictures had to wait twelve years after its creation, and five years after the death of its author, to be published as a first edition. This version of the suite was edited by another giant of Russian music, Nikolai Rimsky-Korsakov. The urtext (that is, the original final version as completed by Mussorgsky) had to wait until 1931 for publication. In the interim, Pictures at an Exhibition proved to be popular, especially amongst students of orchestration. The rich textures of the piano score have been exploited by several arrangers, with Ravel s orchestration becoming by far the most recorded version of this mighty work. Featured throughout Pictures are recurrent Promenade passages. These passages are essentially restatements of the same theme, serving as a link between many of the movements. The theme has become something of the signature tune for the work, and turns up in various guises in several of the Picture-movements. Mussorgsky intended the Promenade interludes to capture the mood of a viewer walking through the gallery, between the actual viewings of various pictures. The work opens with this famously austere Promenade, material that lends itself to both respectful remembrance and solemn reflection. Overall, however, Pictures is a work of contrasts. This is obvious from the very first Picturemovement we encounter: Gnomus, Latin for The Gnome. The original artwork by Hartmann which inspired this movement is today missing, but was reportedly a depiction of a nutcracker design in the shape of a hideous gnome with crooked legs. It is easy to imagine that the music depicts the bizarre sight of the gnome walking rather unsteadily on his strange limbs.

Sonatas contain some of the composer s most atonal and dissonant writing, in violation of the aesthetic dictates of the State. It was precisely this sort of compositional style, labelled as decadent and formalist, that the official doctrine of Soviet Realism wished to combat. If this view holds merit, it is chillingly ironic that the Seventh Sonata was later awarded a Stalin Prize. Conscious musical protest or not, the awarding of the Stalin Prize to a piece as antithetical to Socialist Realism as the Seventh Sonata is testament to the fact that even the practical details of censorship continually appear to be beyond the capabilities of totalitarian regimes. If there is a veiled critique of Stalinist oppression in the War Sonatas, it seems to have escaped the notice of the censors. From the outset, the turmoil engulfing the world seems to find expression in Prokofiev s sometimes bleak, and often violently percussive, setting of musical material. The listener need not look beyond the first movement to find evidence of the composer s skill at utilising daringly atonal techniques to create contrasts between dissonant rage and yearning nostalgia. (The majority of the work is atonal in the sense that it largely eschews conventional harmonic functions. However, tonal centres are still present in much of the work, especially in the final movement.) The opening movement is cast in sonata form, a formal strategy that lends itself particularly well to contrasting thematic material, even in the absence of traditional harmonic devices. The second movement also adopts a large-scale ternary (ABA) structure, albeit with fewer core themes. This Andante caloroso movement offers but a brief respite from conflict, for the finale is a relentlessly agitated affair a brilliant toccata driven by an inherently unstable 7/8 meter. It is hard to imagine that Prokofiev did not give musical expression to his artistic surroundings, but at the same time, it is difficult to point to the moments when his music explicitly stated his opposition to State ideology. The artistic politics of the Soviet Union were not as simple as is sometimes portrayed. As Hitler s armies advanced on Moscow, the people of Russia were caught between their own tyrannical regime and the horror of Nazi atrocity. Nonetheless, music such as that of the Seventh Sonata, composed in circumstances of terror and oppression, show how deep the need for artistic expression lies in the human psyche. Perhaps it is in this expression of the human spirit that the fascination with not only Russian music, but all the world s music, truly lies. Barry Ross

The Promenade returns to guide us toward the next picture: Il vecchio castello, or The Old Castle. This is a haunting movement, so effectively scored with alto saxophone in Ravel s famous orchestration. The watercolour in question was of a medieval castle, in front of which a troubadour sings. In Mussorgsky s mind, the troubadour s song couldn t have been a very jolly one: the music of The Old Castle is broody, mysterious, and ethereal. After the pensive conclusion of this movement, the Promenade returns to usher the listener toward the next two pictures, the first of which is entitled Tuileries (Dispute d enfants après jeux), or in English, Tuileries (A Dispute between Children at Play). The Jardin de Tuileries is the garden between the Louvre and the Place de la Concorde in Paris, the former garden of the Tuileries Palace which was burnt to the ground during the turbulent weeks of the Paris Commune in 1871. Here, too, Hartmann s original artwork is lost. The next picture is a rural scene, Bydlo, which translates as Cattle. Mussorgsky aimed to recreate in music the scene of a lumbering Polish cart pulled by oxen. This effect is achieved by virtue of the measured tread of the bass chords, which despite evoking mental images of weight and labour, never descends into caricature. The Promenade takes us from oxen to chickens next, with the Ballet of the Unhatched Chicks. This is the musical representative of décor designs which Hartmann had made for a ballet called Trilby (with music by Julius Gerber and choreography by Marius Petipa). After this delightful little piece, the listener s gaze falls next on a picture entitled Samuel Goldenberg und Schmuÿle, which is probably better known by the title given to it by the critic Stasov, Two Jews: Rich and Poor. The stern and serious first theme belongs to the rich Goldenberg, the second is Schmuÿle s. After the presentation of these two themes, Mussorgsky skilfully sets them in counterpoint with one another a striking example of dialogue depicted both literally and figuratively in music. Samuel Goldenberg und Schmuÿle is followed by an only slightly modified repeat of the opening Promenade, marking the midpoint of the suite. (This Promenade is often left out of arrangements and orchestrations of the work.) The second half of Pictures commences with Limoges, le marché (La grande nouvelle) - The Market at Limoges (The Great News). This is a depiction of an animated exchange between women in a busy marketplace. Mussorgsky s contrasts are sharp, and this scene is segued straight into the eighth picture: the ethereal depiction of skulls and bones in a subterranean tomb, Catacombæ (Sepulcrum romanum), and Cum mortuis in lingua mortua. ( The Catacombs (Roman sepulchre), and With the Dead in a Dead Language ). Hartmann s original painting which inspired this movement was a self-portrait,

featuring the artist exploring catacombs armed with a lantern. The music is of two parts: an ominous Largo section, and an Andante section which brings the Promenade-theme to the fore, beautifully set with ringing bells in the background. In the margin of the original manuscript, Mussorgsky had pencilled in several statements. With regard to the piece as a whole, he wrote: The creative spirit of the dead Hartmann leads me towards the skulls, invokes them; the skulls begin to glow softly from within. Mussorgsky also provided evidence that he thought of the piece in a humorous manner as well. With regard to the subject matter, he chose that the title be rendered in Latin, and jotted down in the margin the cheeky subtitle: NB Latin text: With the dead in a dead language. So, it seems even the great artist Mussorgsky couldn t resist the humour of depicting Latin as a dead language! The last two pictures are, along with The Old Castle and the opening Promenade, amongst the most famous movements of the suite. The Hut on Fowl s Legs (Baba-Yagá) depicts a picture of a clock, designed to represent the bizarre and diabolical home of the witch Baba-Yagá, of Russian mythology. This is diabolical music depicting a diabolical figure, often portrayed as a kidnapper and consumer of children, in addition to a host of other witch-like character traits. This strange image leads us to the famous Great Gate of Kiev, Hartmann s design for the proposed Bogatyr Gates. (The bogatyr were a class of Slavic knights, often elevated to the status of hero in folklore; not much unlike the chivalric knights of Western Europe.) The occasion of celebration prompting the design of Hartmann s Great Gate was the lucky escape of Tsar Alexander II from assassination in 1866. Hartmann s design was the winner of a competition held to commemorate the Tsar s narrow brush with death, but the plan to construct the memorial gates was never realised. It is here that the Promenade theme returns triumphantly to end the work. Of all the eminent Russian names in the modern piano repertoire, few can match the allure of Sergei Rachmaninoff (1873-1943). Rachmaninoff s music is magnetic to both pianists and audiences alike: his works, clothed in a language of Romantic lushness, seem to embody the very spirit of virtuoso pianism. A student of Nikolai Zverev and Anton Arensky in St. Petersburg and Moscow, Rachmaninoff not only became an esteemed composer in his own lifetime: he was also considered one of the finest pianists of the first half of the twentieth century. Rachmaninoff was one of the last musicians to have true success pursuing a career featuring both composition and performance, something that is a rarity today with the modern art music industry s wholehearted acceptance of the principle of division of labour.

Like the Étude-tableaux, Prokofiev s Seventh Sonata, in B flat, op. 83, was written in circumstances of great social upheaval. The Seventh Sonata was composed in the midst of the German invasion of Russia, being premièred in January 1943 by the fabled Soviet pianist Sviatoslav Richter. Bearing the nickname The Stalingrad, it was the second of Prokofiev s three War Sonatas, written by the composer between 1939 and 1942. Many modern commentators not only consider the War Sonatas as poignant artistic responses to the horrors of war, but also as artistic responses to the tyrannical oppression of the Soviet regime, which imposed itself so destructively on the arts. The worldwide political chaos of the inter-war period had a deep impact on Russian society. By the outbreak of the Second World War, the Soviet regime sought to maintain an iron grip on their ideological monopoly in Russia. As a result, the State was particularly sensitive to what was perceived as anti-communist ideological baggage accompanying Western art. Thus, there was an ominous weight of political expectation placed on Soviet composers and artists to create healthy, populist art, as embodied in the doctrine of Socialist Realism. Failure to live up to the ideals of Socialist Realism had horrid real-world effects. Prokofiev s 1939 opera Semyon Kotko was considered to be ideologically acceptable by the regime, but the artistic activities of his close friend Vsevolod Meyerhold, who was to be the director, were not. Meyerhold was arrested shortly before rehearsals began, and was never heard from again. It was later revealed he had been tortured, forced to falsely confess to co-operating with Western intelligence, and was subsequently executed in 1940. Meyerhold s wife was found murdered in her house less than a month after the arrest. In these frightening circumstances, Prokofiev who had spent many years in Western Europe sought to publicly comply with the regime. When Soviet artistic authorities formally requested Prokofiev to write a politically approved cantata to celebrate the occasion of Stalin s 60th birthday, Zdravitsa ( Hail to Stalin, op. 85) was the result. Prokofiev wisely thought it too dangerous to refuse formal requests from the Stalinist regime. Around the time of the commission of Zdravitsa, Prokofiev began to privately work on the War Sonatas (all three were started simultaneously in 1939). Upon completion, they were presented to the public as works championing the Soviet cause against the German invasion of 1941. However, some critics have come to view these pieces as a musical protest in disguise, a protest against the brutal intrusion of Soviet ideology into the realm of art. Prompting this view is the fact that the War

The title page of the op. 23 set of preludes bears a dedication to another colossus of late Romantic music, Alexander Siloti. Siloti, famous as a pianist, conductor and composer, was in fact Rachmaninoff s cousin. The reason for the dedication was not simply one of kinship, nor the fact that Siloti was for a time one of Rachmaninoff s teachers. Rachmaninoff had in fact received financial support from his cousin while engaged in the composition of the op. 23 preludes. The selection of Rachmaninoff pieces on this program ends off with the Étude-tableaux in E-flat minor, op. 39 no. 5. Étude-tableaux literally translates as study pictures. As with most Romantic etudes, such as those of Chopin and Scriabin, these pieces aren t intended to be simply played as technical challenges clothed in musical form. A further challenge awaits the player of these etudes a challenge of interpretation, phrasing, and musical gesture. These are study pictures, studies of musical interpretation, as well as tests of technical prowess. They are as much studies in the traditional sense as artworks of the highest order. Rachmaninoff wrote two sets of these etudes, numbered op. 33 and op. 39, yielding a total of 17 pieces with the title Étude-tableaux. The op. 35 set was written in 1911, while the memory of an unpleasant 1909 concert tour of the United States was still fresh in the composer s mind. The second set, op. 39, was written some five years later, between 1916 and 1917. The op. 39 etudes were amongst the last major works that Rachmaninoff wrote while still living in his native Russia. Russia during the years of the First World War was politically unstable to the extreme, but by 1916, Rachmaninoff could very clearly see the writing on the wall: public discontent, ineffective and unstable changes of government, social unrest, and the tangible expression of deep-seated anger toward the Tsar and his family, all pointed toward a large-scale revolt. Rachmaninoff correctly foresaw that a major and violent social upheaval was imminent. In June 1917, he asked his cousin Siloti to help him arrange a visa, so that he might easily leave the country if needed, but the infamous Russian bureaucracy thwarted efforts in this direction. Fortunately for Rachmaninoff, an invitation to play in Stockholm arrived a few months later. It was enough to persuade authorities to grant him permission to travel. In December 1917, shortly after the October Revolution that left the composer s beloved country retreat at Ivanovka in ruins, Rachmaninoff and his family left Russia for good. It was against this backdrop that the op. 39 collection was composed, and unsurprisingly some of Rachmaninoff s most tumultuous and passionate music is to be found here. Abandoning all property and money in Russia was not an easy choice for Rachmaninoff, but it is certainly arguable that given his astronomical success in the West, it was the correct one.

Despite writing symphonic and chamber works of high quality, it is his contribution to the piano repertoire for which Rachmaninoff is best known. His output for the instrument is diverse: from imposing sonatas to virtuoso concertos and intimate character pieces, Rachmaninoff was able to adapt to any medium without compromising his own idiosyncratic style. His lush Romanticism was undoubtedly out of place when compared to the work of his more modernist-inclined peers. Perhaps this very fact is the source of his originality. The selection of pieces by Rachmaninoff featured on this program starts with the Elegie from Morceaux de fantaisie ( Fantasy pieces, op. 3). Morceaux de fantaisie is comprised of five pieces, not intended by the composer to be played together in a single performance. The set was composed in 1892, while Rachmaninoff was still a student, and as a result, they bear a dedication to his teacher Anton Arensky. Despite being works of relative youth, these provocatively titled pieces bear all the stylistic hallmarks of Rachmaninoff s brand of thematically rich Romanticism. Indeed, the second piece in the set, the Prelude in C-sharp minor, has become one of Rachmaninoff s most famous compositions. Amongst Rachmaninoff s large output of piano pieces, the Preludes (op. 23 and 32) are particularly well-loved. Like Chopin, who took inspiration from J. S. Bach s Das Wohltemperierte Clavier for his preludes, Rachmaninoff doubtlessly considered the genre to be important. Rachmaninoff wrote a prelude in each of the minor and major keys: the op. 23 set contains ten preludes, the op. 32 set contains thirteen, and the remaining prelude can be found in the earlier Morceaux de fantaisie in the form of the famous C-sharp minor prelude. And, as we find with the preludes of Bach and Chopin, Rachmaninoff certainly did not shy away from creating a technical challenge for the pianist. These challenges of technique are reflective, no doubt, of Rachmaninoff s own remarkable dexterity at the keyboard. The two preludes selected for this recording are the D minor and E-flat major preludes, published as part of the op. 23 set and composed between 1901 and 1903. The D minor prelude (the third of op. 23) is marked Tempo di minuetto, which seems to be as much a character as a tempo marking. On display in this prelude is Rachmaninoff s penchant for inventive counterpoint, particularly with freeflowing scale motives no doubt a nod to the rich contrapuntal language of Bach s preludes. The E-flat major prelude, marked Andante, is the sixth of the set. This piece breaks with clear-cut ternary structure common to many of Rachmaninoff s preludes, and is instead a set of subtly distinguished variations.

booklet konstantin.indd Spread 8 of 8 - Pages(8, 9) 06/03/12 10:13

booklet konstantin.indd Spread 8 of 8 - Pages(8, 9) 06/03/12 10:13

MODEST MUSSORGSKY (1839-1881) Pictures of an Exhibition 1 1:26 Promenade 2 2:29 I. Gnomus 3 0:41 Promenade 4 4:32 II. ll vecchio castello 5 0:23 Promenade 6 0:58 III. Tuileries 7 2:51 IV. Bydlo 8 0:40 Promenade 9 1:14 V. Ballet of the Chickens in their Shells 10 2:17 VI. Samuel Goldenberg and Schmuyle 11 1:16 Promenade 12 1:22 VII. Limoges - The Market Place 13 1:21 VIII. Catacombæ 14 2:14 Cum mortius in Lingua morta 15 3:08 IX. The Hut on Fowls Legs, Baba Yaga 16 4:39 X. The Great Gate of Kiev Recorded live at: Endler Hall, Stellenbosch University, South Africa, 13 February 2011 Artist: Konstantin Scherbakov (piano) Produced by: Luis Magalhães Balance engineer: Gerhard Roux Piano tuner: W. Heuer Musikhaus Edited and Mixed by: Gerhard Roux Assistant: Leon van Zyl Program notes: Barry Ross Mastered by: Tim Lengfeld Cover Photo: Juri Junkov Booklet Photos: Juri Junkov, Riekert Cloete Graphic Design: Glitz-design SERGEI RACHMANINOFF (1873-1943) 17 5:05 Elegy E flat minor op.3 no.1 18 3:03 Prelude E flat major op.23 no.6 19 3:17 Prelude in D minor op.23 no.3 20 4:57 Etude-tableaux in E flat minor op.39 no.5 SERGEI PROKOFIEFF (1891-1953) Sonata no.7 op.83 21 7:30 Allegro inquieto 22 6:27 Andante caloroso 23 3:56 Precipitato TOTAL: 66:30 www.twopianists.com 2012 TwoPianists Records Made in Austria. TP1039114 27868