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Special offer. Slavonic Reflections

Recital at Wigmore Hall

Nelly Akopian-Tamarina (piano)

Slavonic Reflections
Once you settle into her slow and deliberate manner, unexpected beauties emerge; the short preamble to the C-sharp minor Mazurka Op 50/3 becomes a major event, while Op 56/3 in C minor is a...

Special offer. Slavonic Reflections

Recital at Wigmore Hall

Nelly Akopian-Tamarina (piano)

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Once you settle into her slow and deliberate manner, unexpected beauties emerge; the short preamble to the C-sharp minor Mazurka Op 50/3 becomes a major event, while Op 56/3 in C minor is a...

About

Slavonic Reflections, recorded by Nelly Akopian-Tamarina in recital at Wigmore Hall, is a highly personal collection of piano music containing Mazurka’s by Chopin, Janáček’s cycle In the Mist, as well as encores by Medtner and Liadov. The programme breathes a melancholic air of sadness, while simultaneously showing an equally Slavonic inclination to dance, as well as a fascination for nature. Nelly Akopian-Tamarina belongs to a distinguished tradition of playing stretching back to the great Russian school of Scriabin, Rachmaninov and Medtner. Slavonic Reflections is her second PENTATONE release, after a 2017 Brahms album that The Guardian praised as “enchanting, intimate and irresistible”, while BBC Music Magazine described it as “revelatory Brahms from another age”.

This album was recorded in recital at Wigmore Hall, London, United Kingdom, 23 March 2009; 30 January 2008 (Medtner, Liadov encores)*

Contents and tracklist

No. 1 in B-Flat Major [Live]
Track length3:07
No. 2 in E Minor [Live]
Track length2:47
No. 4 in A Minor [Live]
Track length5:08
No. 1, Andante (Live)
Track length4:26
No. 2, Molto adagio (Live)
Track length4:41
No. 3, Andantino (Live)
Track length4:16
No. 4, Presto (Live)
Track length6:42

Awards and reviews

January 2021

Once you settle into her slow and deliberate manner, unexpected beauties emerge; the short preamble to the C-sharp minor Mazurka Op 50/3 becomes a major event, while Op 56/3 in C minor is a complex web of rhythmic tensions. The Janácek suite becomes an effusion of quintessentially Slavic lyricism, the Medtner the most languidly graceful of reveries, and the Liadov a closing bonne bouche.
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