Scriabinoff wrote:thought i'd pass along, I remember getting wind of this late last year (as a "coming sometime in 2012" type deal), Yamaha Music Media Corp Japan has relased two piano reductions to two Kapustin Piano Concertos!
No 2 Op 14
Scriabinoff wrote:thought i'd pass along, I remember getting wind of this late last year (as a "coming sometime in 2012" type deal), Yamaha Music Media Corp Japan has relased two piano reductions to two Kapustin Piano Concertos!
No 2 Op 14
and No 4 Op 56
released - (2012/1/20)
ISBN-10: 4636883306
ISBN-13: 978-4636883305
These were already available through the London based publishers of Kapustin - MusT, their website is http://music-trading.co.uk
Regards
sweet! good to know thanks for the clarification. ordering from the UK kids might be easier for some ( i have a dealer in japan that helps me out but yeah the japanese sites can be a nightmare to navigate without help)
Thank you for this concerto, ILU. Indeed, there are a couple of Mamedovs who composed in the Soviet regions. Nariman was Azerbaijani. Yunis (alternately written as Junis or I'unis) lived and worked in the central Asian countries. I translated a bit of biography off of the back of a Melodiya LP of the latter's work:
Yunis Mamadov was born in 1944 in Ashgabat. After completing music school in Ashgabat with a specialty in "choral conducting," he enrolled in 1966 at the Tashkent Conservatory, where he studied composition under Boris Fyodorovich Gienko. Over the years at conservatory, he completed a symphony for strings and percussion (no. 1), Symphony no. 2 "Memory of his Father" and several other works.
The composer's independent creative activity began in 1971 in Dushanbe, where he composed his Symphony no. 3 for large orchestra, three string quartets, a dramatic triptych after a Garcia Lorca poem, a song cycle about the Hero of the Soviet Union Erdzhigitova, a piano sonata, a piano sonatina, and a number of other works for folk instruments.
Y. Mamedov gravitates towards broad musical developments, scale, and the philosophical significance of images. The composer's style combines elements of intonation, structural principles of a number of traditional Asian cultures - Tajik, Turkmen, Azeri, richly intricate intonation curves of improvised melodies, masterful technique of motivic varirovani (ed. this paragraph was tricky to translate, but you get the idea).
