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Kapustin Concert Etudes Programme Notes

Kapustin's Eight Concert Etudes showcase a range of styles and technical virtuosity, balancing classical and jazz influences. Each etude highlights different influences like Chopin, Rachmaninov, Latin music, blues, boogie-woogie, ragtime and stride piano in energetic and virtuosic pieces.

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Lewis Bell
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447 views1 page

Kapustin Concert Etudes Programme Notes

Kapustin's Eight Concert Etudes showcase a range of styles and technical virtuosity, balancing classical and jazz influences. Each etude highlights different influences like Chopin, Rachmaninov, Latin music, blues, boogie-woogie, ragtime and stride piano in energetic and virtuosic pieces.

Uploaded by

Lewis Bell
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
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Download as DOCX, PDF, TXT or read online on Scribd
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Nikolai Kapustin: Eight Concert Etudes op.

40 (1984)

Kapustin’s Eight Concert Etudes encompass a range of styles as well as highlighting technical
virtuosity. They balance established piano repertoire tradition with heightened excitement
which makes them favourite encores as well as highlighting Kapustin at the fore of
jazz/classical crossover music.
No.1 bursts out with a quick introduction which quickly pushes us into a highly energised
carnival with a light groove mixed with fiendish Chopinesque figurations. No.2 is calmer yet
still highlights virtuosic writing with double notes that are heavily influenced by
Rachmaninov, contrasting with a energised jazz fantasia in the middle. In no.3, Kapustin
holds this energy with influences from Latino music. Fast pace repeated notes and constant
register changes emphasise the ‘study’ aspect of an etude whilst still being exciting. No.4 is
highly improvisatory in style, a steady left-hand accompaniment holds this piece together. In
no.5, Kapustin merges the twelve-bar blues and boogie-woogie style together with highly
virtuosic licks and unpredictable accents. No.6 has influences of ragtime and stride whilst
providing new harmonic ideas. No.7 evokes the golden age of theatre with a nice steady feel
to it, influenced highly by cabaret. No.8 is a compact work which finishes bringing back the
fast-paced energy into a compact virtuosic finale.

(201 words excluding title)

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