Nobody is talking about Meinhard (the drummer). He's the main reason this recording is so good. He's following Kapustin's notation but he's also taking liberties as a jazz drummer to really give the piece a jazz feeling. When Kapustin dictates drive for example, he doesn't just play the ride cymbal every quarter note but he's playing a BANGING swing style while also following Kapustin's notations and breaks. I'm a huge fan with all the liberties he takes and I'd love to hear him with Frank Dupree and a big band try Piano Concerto No. 6
Piano Concerto No. 6 is just recorded. Coming soon! :) Until then, you can listen to Piano Concerto No. 4, which I play again together with Meinhard Obi Jenne, or our trio album BLUEPRINT, Kapustin piano solo works adding double-bass and drums (Meinhard!!!).
Thank you so much Anthony for completely understanding how I see it and try to find the best interpretation of this wonderful music from Nikolai Kapustin. With my close friend Frank it’s really possible to get the shape right because he’s not only an outstanding piano player, but also bulletproof in playing and understanding modern music❤
Good luck it already started that Frank and i are invited from many orchestras for several different pieces from Kapustin and it’s amazing to perform his music
But at least they sound like the composers themselves and not just jazz in general. And Ravel’s harmonic language is eons ahead of anything Kapustin ever did. And his writing for piano is much more attractive to a classical pianist than having to execute all this random quasi improvisational writing.
@@ChristovanRensburg Not necessarily on the execution part, Kapustin's music is incredibly fun to play. Although yeah, comparing these composers does kind of undermine their respective styles, and the things they wanted to accomplish. Ravel certainly was better than Kapustin in many regards, but Kapustin's music definitely incorporates jazz forms much better (in my opinion) than any other classical composer before or after him.
@@flamingspinach I suppose they are referring that this recording is much better than the only recording of this piece before (which I very much agree with)
Откуда этот нескончаемый поток звуков?! Как это можно было принять, оформить в виде нотного текста, запомнить и исполнять?! Н. Капустин и сам по себе есть загадка и тайна! Я , как профессиональный музыкант, определила бы этот тип музыки, как репортаж из мира хаоса и тёмной материи. Ведь в ней НЕТ МЕЛОДИИ, А СЛЕДОВАТЕЛЬНО, НЕТ ЧЕЛОВЕЧЕСКОЙ ДУШИ!! ПЕРВЫЙ РУССКИЙ ПРОФЕССИОНАЛЬНЫЙ КОМПОЗИТОР ГОВОРИЛ ТАК, МЕЛОДИЯ ЭТО ДУША МУЗЫКИ. НАРОД СОЧИНЯЕТ МУЗЫКУ, А МЫ, КОМПОЗИТОРЫ, ЕЁ ТОЛЬКО АРАНЖИРУЕМ . О музыке Капустина можно смело сказать, души в ней нет. Поэтому слушать её, а тем более исполнять, могут единицы, подобные этому композитору по своему типу восприятия реального мира.
![Nikolai Kapustin - Concerto for 2 Pianos and Percussion, Op. 104 (2002) [Score-Video]](/img/logo.svg){kind=logo}
