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Rachmaninoff & Stravinsky: Piano Works

Karine Poghosyan (piano)

She confidently launches into Petrushka’s ‘Danse russe’, where the bouncy conversational left-hand details catch your ear to the point where you can take Poghosyan’s poised right-hand octaves...

Rachmaninoff & Stravinsky: Piano Works

Karine Poghosyan (piano)

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She confidently launches into Petrushka’s ‘Danse russe’, where the bouncy conversational left-hand details catch your ear to the point where you can take Poghosyan’s poised right-hand octaves...

About

Pianist Karine Poghosyan fell in love with Rachmaninoff's Six Moments Musicaux, Op. 16 as a little girl in Yerevan, Armenia. She has since loved and made a specialty of Russian works for piano. She has the perfect pianistic sensibility for these works, playing with great passion and sweep. Described as ‘extraordinary,’ ‘larger than life,’ ‘the powerhouse pianist’… Award-winning Armenian-American pianist, Kariné Poghosyan, has been praised on the world stage for her “ability to get to the heart of the works she performs.” Since her orchestral debut at the age of fourteen, Kariné has been enchanting concert audiences around the globe, with her masterful artistry and exceptional performances that leave them forever transformed.

Contents and tracklist

No. 1, Andantino
Track length7:09
No. 2, Allegretto
Track length3:04
No. 3, Andante cantabile
Track length4:45
No. 4, Presto
Track length3:13
No. 5, Adagio sostenuto
Track length3:54
No. 6, Maestoso
Track length4:13
No. 1, Danse russe
Track length2:39
No. 2, Chez Pétrouchka
Track length4:38
No. 3, La semaine grasse
Track length9:14
No. 5, Lilacs (Version for Solo Piano)
Track length2:29
I. Allegro agitato
Track length9:03
II. Non allegro - Lento
Track length6:07
III. L'istesso tempo - Allegro molto
Track length5:43
I. Danse infernale
Track length5:34
II. Berceuse
Track length3:16
III. Finale
Track length3:02

Awards and reviews

February 2020

She confidently launches into Petrushka’s ‘Danse russe’, where the bouncy conversational left-hand details catch your ear to the point where you can take Poghosyan’s poised right-hand octaves for granted. Some may find her rhetorical breadth in ‘Chez Petrouchka’ a tad emotive, more appropriate to Tchaikovsky than to Stravinsky, yet the characterisation befits the storyline and the music’s harmonic tenderness.
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