Mar 22

Alexander Scriabin – Piano Sonatas Nos. 1-10 – Varduhi Yeritsyan (2015)
FLAC (tracks) 24 bit/96 kHz | Time – 02:08:24 minutes | 1,92 GB | Genre: Classical
Official Digital Download – Source: prestoclassical.co.uk | Digital booklet | © Paraty Productions
Recorded: March 2015 at Théâtre Impérial de Compiègne

A fellow student of Rachmaninov’s at the Moscow Conservatory, where he studied under Arensky and Taneyev, Alexander Scriabin (1872-1915) occupies a unique sphere in Russian music. Rejecting the vocal and folkloristic music that occupied most of his contemporaries, he wrote exclusively for piano and for orchestra. His musical language constantly evolved over the length of his life, passing from the early influence of Chopin and Liszt, through a Wagnerian period, before reaching an atonal style that gazes far into the future of the 20th century’s sound world. Known for her interpretations of Scriabin’s music, which she plays often in recital, Franco-Armenian pianist Varduhi Yeritsyan studied with both Brigitte Engerer and Pierre-Laurent Aimard. She made her UK debut with the BBC Symphony Orchestra in February 2014 at the Barbican where she premiered a new concerto for two pianos, by Bruno Mantovani, written for her and François-Frédéric Guy.

Conventional sets of the ten piano sonatas of Alexander Scriabin typically present them in numerical order, which allows the listener to follow his musical development over the course of 20 years, from his early Chopin-inspired period to the late visionary works. On this 2015 release from Paraty, Varduhi Yeritsyan favors a different arrangement, separating them equally under two headings, “White Mass” and “Black Mass” (taken from the subtitles of the Sonata No. 7 and the Sonata No. 9, respectively), which one might guess separates the lighter and darker works. This is a bit misleading, since Scriabin didn’t conceive his music within that dichotomy, and the highly varied sonatas are not well-served by such a simplistic categorization. Even so, Yeritsyan plays with phenomenal fluency, and whether she is radiating heat and light, as in the Sonata No. 4 and the Sonata No. 10, or brooding in the darkness of the Sonata No. 6, she fully grasps the technical demands of the music, even if its metaphysical import is harder for her to communicate. This may be for the best, because Scriabin’s histrionic mysticism is sometimes a stumbling block, giving pianists permission to be self-indulgent, which the meticulous Yeritsyan never is, and her faithfulness to the printed score is worth more than the atmospheric imprecision some recordings reveal. –AllMusic Review by Blair Sanderson

Tracklist:
Alexander Scriabin (1872-1915)
Piano Sonata No. 10, Op. 70
1 Moderato 12:30
Piano Sonata No. 4 in F Sharp Major, Op. 30
2 I. Andante 2:43
3 II. Prestissimo volando 5:04
Piano Sonata No. 6, Op. 62
4 Modéré 11:53
Piano Sonata No. 3 in F-Sharp Minor, Op. 23
5 I. Dramatico 5:48
6 II. Allegretto 2:28
7 III. Andante 4:08
8 IV. Presto con fuoco 6:14
Piano Sonata No. 7, Op. 64 “White Mass”
9 Allegro 11:42
Piano Sonata No. 8, Op. 66
10 Lento 13:13
Piano Sonata No. 9, Op. 68, “Black Mass”
11 Moderato quasi Andante 8:17
Piano Sonata No. 1 in F Minor, Op. 6
12 I. Allegro con fuoco 7:31
13 II. – 4:50
14 III. Presto 3:41
15 IV. Funèbre 5:28
Piano Sonata No. 2 in G Sharp Minor, Op. 19, “Sonata Fantasy”
16 I. Andante 7:23
17 II. Presto 4:13
Piano Sonata No. 5 in F Sharp Major, Op. 53, “Poem of Ecstacy”
18 Allegro impetuoso con stravaganza 11:18

Personnel:
Varduhi Yeritsyan, piano

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Mar 22

Tarquinio Merula – Arpa Davidica – Nova Ars Cantandi, Giovanni Acciai (2015)
FLAC (tracks) 24-bit/96 kHz | Time – 01:06:33 minutes | 1,02 GB | Genre: Classical
Studio Master, Official Digital Download – Source: AcousticSounds | © Archiv Produktion

Italian vocal and chamber ensemble Nova Ars Cantandi is led by founder Giovanni Acciai on the world premiere recording of Arpa Davidica by Baroque composer Tarquinio Merula. This album, released in 2015, commemorates the 350th anniversary of Merula’s death.

Tracklist:
Tarquinio Merula (1595-1665)
1. Domine ad adjuvandum 02:30
2. Dixit Dominus 04:25
3. Confitebor 04:36
4. Beatus vir 05:42
5. Laudate pueri 05:11
6. Laetatus sum 04:58
7. Nisi Dominus 04:43
8. Lauda Jerusalem 05:14
9. Magnificat 05:42
10. Credidi 03:49
11. In convertendo 04:27
12. Laudate Dominum 02:06
Messa concertata op.XVI
13. Kyrie 01:44
14. Gloria 01:47
15. Credo 05:31
16. Sanctus – Benedictus 01:42
17. Agnus Dei 02:26

Personnel:
Nova Ars Cantandi
Giovanni Acciai, conductor

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Mar 22

Voices Incorporated – Roots: An Anthology Of Negro Music In America (1965/2015)
FLAC (tracks) 24-bit/96 kHz | Time – 37:27 minutes | 826 MB | Genre: Folk, Soul
Studio Master, Official Digital Download – Source: Q0buz | Artwork: Front cover | © Columbia

Tracklist:
01 – Children Go Where I Send Thee / I Wanna Be Ready
02 – Ride the Chariot
03 – Work Song Medley: Sometimes I Feel Like a Motherless Child / Bayeza
04 – Ain’t That Good News
05 – I Been in the Storm So Long / I Wanna Die Easy, When I Die / No More Weepin’ and Awailin’
06 – Where Shall I Be / Judgment Day
07 – Street Cries / Children’s Rhythm Games
08 – Jelly Jelly / Early Mornin’ Blues
09 – Medley: I Turn to Jesus / I’m So Glad
10 – Naked Foot
11 – Thinkin’

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Mar 22

Willie Dixon – I Am The Blues (1969/2015)
FLAC (tracks) 24-bit/192 kHz | Time – 43:56 minutes | 1,45 GB | Genre: Blues
Studio Master, Official Digital Download – Source: HDTracks | Artwork: Front cover | © Columbia

Willie Dixon sings his originals on this album, even though many were written for other artists to perform previously. The album offers a unique perspective in comparing how Dixon interprets his music to how other performers (Muddy Waters and Howlin’ Wolf for example) have interpreted it.

The material is superb, consisting of some of Willie Dixon’s best-known songs of the 1960s, and the production is smoothly professional, but none of the performances here are likely to make you forget the hits by Howlin’ Wolf, Muddy Waters, and others.

Tracklist:
01 – Back Door Man
02 – I Can’t Quit You, Baby
03 – The Seventh Son
04 – Spoonful
05 – I Ain’t Superstitious
06 – You Shook Me
07 – I’m Your Hoochie Coochie Man
08 – The Little Red Rooster
09 – The Same Thing

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Mar 22

Franz Schubert – Symphonies Nos. 8 & 9 – Swedish Chamber Orchestra, Thomas Dausgaard (2010)
FLAC (tracks) 24 bit/44,1kHz | Time – 01:19:17 minutes | 682 MB | Genre: Classical
Studio Masters, Official Digital Download – Source: eClassical | © BIS Records
Recorded: Recorded in October 2006 (Unfinished) and December 2007 (Great C major) at the Örebro Concert Hall, Sweden

In 2008, to great acclaim, Thomas Dausgaard and the Swedish Chamber Orchestra completed their 3-disc cycle of Schumann’s symphonies. Gramophone described it as ‘riveting’ while the German website klassik.com awarded it the claim of reference recording. The reviewer in Fanfare was struck by the excitement Dausgaard and company offered the listener (‘what a ride . with sawing violins smoking down to the bridge and timpani-like rifle shots’) while his colleague in International Record Review called the result ‘the most perceptive Schumann cycle in over three decades’. Together with a recording of Dvorák’s Sixth and Ninth Symphony released in 2007 the Schumann discs belong to a series entitled ‘Opening Doors’, in which Dausgaard makes a case for performing 19th-century symphonic works with a chamber-sized band. The turn has now come to Franz Schubert and his final works in the symphonic genre: the ‘Unfinished’ (Symphony No.8) and ‘the ‘Great C Major’ (No.9). Both of these are also the most celebrated of all Schubert symphonies, which makes it all the more ironic that the composer never had the opportunity to hear them performed. As for the Eighth, with its distinctive, mysterious opening, it is not known why Schubert didn’t complete it: a few jotted-down bars of a third movement is all that we have. The most likely explanation may simply be that Schubert remained unsatisfied with all of his attempts to match the degree of innovation achieved in the first two movements. The Ninth, on the other hand, does run its full course – and most gloriously so, with a Finale of exuberant festiveness. Unfortunately for the composer, the great (or, as Schumann put it: ‘heavenly’) length of the symphony and the technical demands it placed on the orchestra caused the only performance planned in Schubert’s lifetime to be cancelled. In 1839 the score was found among his papers by Robert Schumann, and received its first performance shortly thereafter by Mendelssohn conducting the Leipzig Gewandhaus Orchestra – eleven years after the composer’s death.

Tracklist:
Franz Schubert (1797–1828)
Symphony No.8 in B minor, ‘Unfinished’, D759
1. I. Allegro moderato 11’02
2. II. Andante con moto 9’15
Symphony No.9 in C major, ‘Great’, D944
3. I. Andante – Allegro ma non troppo 14’38
4. II. Andante con moto 13’50
5. III. Scherzo. Allegro vivace 13’44
6. IV. Finale. Allegro vivace 15’22

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Mar 22

Taj Mahal – Taj Mahal (1968/2015)
FLAC (tracks) 24-bit/96 kHz | Time – 33:07 minutes | 698 MB | Genre: Blues
Studio Master, Official Digital Download – Source: HDTracks | Artwork: Front cover | © Columbia

Taj Mahal brings old and new sounds to blues in his 1968 debut. Taj Mahal embraces his virtuosity on the guitar and sets the foundation for the future of his unique interpretations of the genre.

Taj Mahal’s debut album was a startling statement in its time and has held up remarkably well. Recorded in August of 1967, it was as hard and exciting a mix of old and new blues sounds as surfaced on record in a year when even a lot of veteran blues artists (mostly at the insistence of their record labels) started turning toward psychedelia. The guitar virtuosity, embodied in Taj Mahal’s slide work (which had the subtlety of a classical performance), Jesse Ed Davis’s lead playing, and rhythm work by Ry Cooder and Bill Boatman, is of the neatly stripped-down variety that was alien to most records aiming for popular appeal, and the singer himself approached the music with a startling mix of authenticity and youthful enthusiasm. The whole record is a strange and compelling amalgam of stylistic and technical achievements – filled with blues influences of the 1930s and 1940s, but also making use of stereo sound separation and the best recording technology. The result was numbers like Sleepy John Estes’ “Diving Duck Blues,” with textures resembling the mix on the early Cream albums, while “The Celebrated Walkin’ Blues” (even with Cooder’s animated mandolin weaving its spell on one side of the stereo mix) has the sound of a late ’40s Chess release by Muddy Waters. Blind Willie McTell (“Statesboro Blues”) and Robert Johnson (“Dust My Broom”) are also represented, in what had to be one of the most quietly, defiantly iconoclastic records of 1968.

Tracklist:
01 – Leaving Trunk
02 – Statesboro Blues
03 – Checkin’ up on My Baby
04 – Everybody’s Got to Change Sometime
05 – E Z Rider
06 – Dust My Broom
07 – Diving Duck Blues
08 – The Celebrated Walkin’ Blues

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Mar 22

Seong-Jin Cho – Winner Of The 17th International Fryderyk Chopin Piano Competition (2015)
FLAC (tracks) 24-bit/96 kHz | Time – 72:33 minutes | 1,22 GB | Genre: Classical
Studio Master, Official Digital Download – Source: highresaudio.com |Digital booklet | © Deutsche Grammophon
Recorded at the Warsaw Philharmonic Concert Hall, October 2015.

Deutsche Grammophon is proud to present the debut solo album from Seong-Jin Cho, winner of the 17th International Chopin Piano Competition. Cho took the coveted first prize, among the most prestigious titles in the world of classical music. He was named winner on Tuesday 20 October 2015, following three weeks and four stages of competition in Warsaw. This recording contains highlights from the 21-year-old South Korean pianist’s recital rounds.

The classical music landscape is so littered with competitions in which the fix is in for a dutifully colorless musician that one might justifiably treat the 21-year-old South Korean Seong-Jin Cho with skepticism after hearing that he won the 17th International Fryderyk Chopin Piano Competition in Warsaw. His performances there were recorded in October of 2015 and released by Deutsche Grammophon a scant six weeks later, and the good news is that Cho is a competition winner of a different stripe. These are entirely innovative readings of Chopin standards, rendered with muscular excitement. The best comes first on the program here with the set of Preludes, Op. 28, where Cho strips out any hint of hazy mood music or late-Romantic neurasthenia, focusing on the counterpoint and turning the remarkable level of dissonance from a sort of chromatic wash into a pure extension of Bachian principles. Sample one of the well-known preludes, such as the Prelude in E minor, Op. 28, No. 4 (track four), to learn what you’re getting here: tough, detailed readings that make you hear the music anew. The Piano Sonata No. 2 in B flat minor, Op. 35, is a bit less daring, but it’s a forceful, absorbing performance of the work throughout, and the single Nocturne and Polonaise each suggest new avenues of interpretation in those genres. Hats off, gentlemen (and gentlewomen) – a major new Chopin interpreter!

Seong-Jin Cho
Born on 28 May 1994, in Seoul (South Korea), Seong-Jin Cho is today based in Paris. He won the International Fry- deryk Chopin Competition for Young Pianists in 2008 and the Hamamatsu Piano Competition in Japan in 2009, as well as Third Prizes in both the Tchai- kovsky Competition in Russia in 2011 and the Arthur Rubinstein Competition in Tel Aviv in 2014. He has performed in con- cert with the Mariinsky Orchestra under Valery Gergiev, the French Radio, Czech and Seoul Philharmonic orchestras under Myung-Whun Chung, the Munich Phil- harmonic Orchestra under Lorin Maazel, the St. Petersburg Philharmonic Orchestra under Yuri Temirkarnov, the Berlin Radio Symphony Orchestra under Marek Janowski, and both the Russian National Orchestra and Basel Symphony Orchestra under Mikhail Pletnev. He has toured Japan, Germany, France, Russia, Poland,Israel, China and the US. He has appeared in both concerts and recitals at the Tokyo Opera City, in Osaka, at the Moscow Con- servatory and at the Mariinsky Theatre in St. Petersburg. He has participated in numerous European festivals, including St. Petersburg, Moscow, Duszniki-Zdrój and Cracow, as well as festivals in New York and Castleton. As a chamber musi- cian, he has been invited to work with the outstanding violinist Kyung-Wha Chung.

Tracklist:
01 – 24 Préludes, Op.28: 1. In C Major
02 – 24 Préludes, Op.28: 2. In A Minor
03 – 24 Préludes, Op.28: 3. In G Major
04 – 24 Préludes, Op.28: 4. In E Minor
05 – 24 Préludes, Op.28: 5. In D Major
06 – 24 Préludes, Op.28: 6. In B Minor
07 – 24 Préludes, Op.28: 7. In A Major
08 – 24 Préludes, Op.28: 8. In F Sharp Minor
09 – 24 Préludes, Op.28: 9. In E Major
10 – 24 Préludes, Op.28: 10. In C Sharp Minor
11 – 24 Préludes, Op.28: 11. In B Major
12 – 24 Préludes, Op.28: 12. In G Sharp Minor
13 – 24 Préludes, Op.28: 13. In F Sharp Major
14 – 24 Préludes, Op.28: 14. In E Flat Minor
15 – 24 Préludes, Op.28: 15. In D Flat Major
16 – 24 Préludes, Op.28: 16. In B Flat Minor
17 – 24 Préludes, Op.28: 17. In A Flat Major
18 – 24 Préludes, Op.28: 18. In F Minor
19 – 24 Préludes, Op.28: 19. In E Flat Major
20 – 24 Préludes, Op.28: 20. In C Minor
21 – 24 Préludes, Op.28: 21. In B Flat Major
22 – 24 Préludes, Op.28: 22. In G Minor
23 – 24 Préludes, Op.28: 23. In F Major
24 – 24 Préludes, Op.28: 24. In D Minor
25 – Nocturne In C Minor, Op.48 No.1
26 – Piano Sonata No.2 In B Flat Minor, Op.35: 1. Grave – Doppio movimento
27 – Piano Sonata No.2 In B Flat Minor, Op.35: 2. Scherzo – Più lento – Tempo I
28 – Piano Sonata No.2 In B Flat Minor, Op.35: 3. Marche funèbre (Lento)
29 – Piano Sonata No.2 In B Flat Minor, Op.35: 4. Finale (Presto)
30 – Polonaise In A Flat Major, Op.53

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Mar 22

Scott Nice – All The Wild Creatures (2016)
FLAC (tracks) 24-bit/48 kHz | Time – 45:59 minutes | 565 MB | Genre: Electronic
Studio Master, Official Digital Download – Source: bandcamp.com | Front cover | © Jumpsuit Records

Northern California producer Scott Nice invigorates the dance floor on his new LP “All the Wild Creatures”, a flowing adventure through world music colors, sounds of the jungle, and dance music aesthetics. This is art rooted in indigenous cultures and traditions; the vibrations find a home in nature’s resplendent environs. Nice, a former turntablist who has logged time in the skateboard and snowboard industries, returned to making music with a newfound clarity and focus following a debilitating bout with illness that saw him stop making music for an extended period. Through intestinal fortitude and personal triumph, Nice has arrived at an exotic cross-section of styles, yet maintains a sound all his own.

For All the Wild Creatures, Scott Nice placed the artistic focus on creating music that stands the test of time, art that has a replay value for years to come. There are no fads chased here, no genre-of-the-moment, no tried and true formulas at play. Instead, the producer leans heavily on his own world view, and the globalized rhythms that pulsate throughout the album are a testament to his wide-eyed approach. Nice has reinvented himself in beautiful and inspirational fashion, eschewing the aggressive tendencies of modern EDM for more organic and spiritual instrumentation. Scratches and cuts of classic James Brown calls harkens back to the golden era of hip hop. Yet if this music sounds as if it’s tailor made for Ecstatic Dance, that’s because it is.
The album opens with “Peacock Drop”, as bird calls sound nature’s trumpet, announcing that the journey has begun. Tribal drums and steel pan sounds launch the globalized rhythms into the fast lane. The opening salvo sets the tone for what’s to come, in the form of a driving, breezy bouyancy that ushers in this undulating effort. From there, the record is a prolific promenade; a testament to a lifetime loving all animals. “Hey Ma” is a reverent, humble dedication to his mother, the meditative bounce of “Picafloricita” a Shibipo medicine song for the hummingbird eagle. Album highlights also include a spicy remix of The Polish Ambassador’s regal “Koyelia” as well as a collaboration with the Jumpsuit Records President in “Lost Continent.” Serving as album coda is the masterful reimagination of Ayla Nereo’s “Bonteka,” an expansive exploration in song and emotion.

Tracklist:
01 – The Peacock Drop
02 – Hey Ma
03 – Picaflorcita (feat. Shira Netanya)
04 – Lost Continent (feat. The Polish Ambassador)
05 – Respeto Por Ti
06 – East Pangaea
07 – Sunshine Cameo
08 – Touching Down
09 – The Polish Ambassador – Koyelia [Scott Nice Remix]
10 – Ayla Nereo – Bonteka [Scott Nice Remix]

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Mar 22

Tamaryn – Cranekiss (2015)
FLAC (tracks) 24-bit/44,1 kHz | Time – 44:26 minutes | 529 MB | Genre: Rock
Studio Master, Official Digital Download – Source: HDTracks | Front cover | © Mexican Summer

With Cranekiss, Tamaryn emerges from her past efforts in a way that’s inviting, warm-blooded, and shockingly direct. She’s made a big record, loaded with samples, synth triggers and processing that was missing from her previous efforts, pressed into service of a post-adolescent love letter to all the music that she and her collaborators (Jorge Elbrecht of Violens and Lansing-Dreiden, Shaun Durkan of Weekend) hold dear. Her most personal collection of songs to date, Cranekiss represents a long journey, and a new phase in Tamaryn’s music unfolding before you, a blood-red kaleidoscope of desire and late night abandon.

By the mid-2010s, the revivals of shoegaze and synth pop had been around for quite a while – several times longer than the styles’ original heydays, in fact – and sometimes felt overly familiar. However, Tamaryn enlivens both by combining them on Cranekiss, resulting in some of her most arresting music yet. It’s quite the departure from the distortion-laden bliss of Waves and Tender New Signs, echoing changes such as her move to New York and the addition of Weekend’s Shaun Durkan to her band. Another key collaborator is producer Jorge Elbrecht (also of Violens and Lansing-Dreiden), whose finesse with samples and keyboards lends a retro-futuristic sound, most audaciously on “Softcore,” where found sounds from porn websites and excerpts from the film Paris, Texas commingle with winding guitars to make shoegaze’s eroticism explicit in more ways than one. Interestingly, Cranekiss’ less showy juxtapositions of softness and structure are even more striking, with the album’s first three tracks capturing the sensual thrill of the best dream pop and Top 40 singles of the late ’80s and early ’90s. Sweeping and swooning, “Cranekiss” lives up to its name; “Hands All Over Me” blends caressing synths and pointed funk; and “Last” rivals other widescreen pop auteurs like M83 and White Sea. Meanwhile, the album’s more traditionally ethereal second side strengthens Tamaryn’s kinship with the Cocteau Twins and contemporaries like Pure Bathing Culture, with songs like “Sugarfix” and “Fade Away Slow” reinvigorating vintage dream pop’s glassy lucidity and fondness for gauzy imagery. In all, Cranekiss is a beautiful pop fantasia that finds Tamaryn expressing her music’s passion and sensuality in exciting new ways.

Tracklist:
01 – Cranekiss
02 – Hands All Over Me
03 – Last
04 – Collection
05 – Keep Calling
06 – Softcore
07 – Fade Away Slow
08 – I Won’t Be Found
09 – Sugar Fix
10 – Intruder (Waking You Up)

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Mar 22

Alexander Scriabin – Piano Works – Klara Min (2016)
FLAC (tracks) 24 bit/96 kHz | Time – 01:02:39 minutes | 919 MB | Genre: Classical
Official Digital Download – Source: HighResAudio.com | Digital booklet | © Steinway & Sons
Recorded: Sono Luminus Studios, Boyce, Virginia, 2015

A native of South Korea, Klara Min has performed extensively throughout North America and Europe as well as in her home country of South Korea, in some of the world’s most important concert venues. Such venues include Carnegie Hall’s Weill Recital Hall, the Alice Tully Hall at the Lincoln Center in New York City, Gasteig in Munich, Berlin Philharmonie, Laeiszhalle in Hamburg, Wigmore Hall in London and KBS Broadcast Hall in Seoul. She has performed with prestigious orchestras such as Hamburger Kammerphilharmonie, Munich Kammerphilharmonie, Seoul Symphony Orchestra, sinfonie orchester berlin, Manhattan Chamber Orchestra, New York Sinfonietta, Fairbanks Symphony Orchestra, American Chamber Orchestra and St. Petersburg State Symphony among others.

For the 2015-2016 concert season, Klara Min will perform Tchaikovsky Piano Concerto No. 1 with Sochi Philharmonic in Russia and Tchaikovsky Symphony Orchestra (formerly known as Moscow Radio Symphony Orchestra) in Austria under the baton of Vladimir Fedoseyev, and will record Paderewski Polish Fantasy with Warsaw Philharmonic Orchestra with renowned French violinist/conductor Augustin Dumay. Ms. Min is also releasing a CD recording of works by Scriabin on Steinway & Sons Record label on January 8, 2016.

Klara Min’s first album Ripples on Water features modern Korean piano music; it was released on Naxos and complimented for “mak(ing) every note count” (Allmusic). Her second release of a selection of Chopin’s Mazurkas was released on Delos. The American Record Guide selected the album as one of six critics’ choices in 2013 raving that “her dynamic control is out of this world”. Both albums are frequently broadcast on WQXR/WNYC radio stations.

Klara Min was the recipient of a Samsung scholarship. She is a Steinway Artist and is based in Berlin and New York.

Tracklist:
Alexander Scriabin (1872-1915)
1. 3 Pieces, Op. 2: No. 2. Prelude 01:07
2 Impromptus, Op. 14
2. No. 1 in B Major 03:23
3. No. 2 in F-Sharp Minor 05:02
3 Pièces, Op. 45
4. No. 1. Feuillet d’Album 01:43
5. No. 2. Poeme Fantastique 00:51
6. No. 3. Prelude 01:39
24 Préludes, Op. 11
7. No. 1 in C Major 01:10
8. No. 2 in A Minor 02:20
9. No. 3 in G Major 01:08
10. No. 4 in E Minor 02:09
11. No. 5 in D Major 01:56
12. No. 6 in B Minor 00:57
13. No. 7 in A Major 01:16
14. No. 8 in F-Sharp Minor 02:30
15. No. 9 in E Major 01:43
16. No. 10 in C-Sharp Minor 01:18
17. No. 11 in B Major 02:00
18. No. 12 in G-Sharp Minor 01:47
19. No. 13 in G-Flat Major 01:55
20. No. 14 in E-Flat Minor 01:13
21. No. 15 in D-Flat Major 02:05
22. No. 16 in B-Flat Minor 02:29
23. No. 17 in A-Flat Major 00:45
24. No. 18 in F Minor 01:17
25. No. 19 in E-Flat Major 01:47
26. No. 20 in C Minor 01:17
27. No. 21 in B-Flat Major 01:58
28. No. 22 in G Minor 01:41
29. No. 23 in F Major 00:47
30. No. 24 in D Minor 01:13
2 Pièces, Op. 57
31. No. 1. Desir 01:30
32. No. 2. Caresse dansee 01:59
33. 2 Poemes, Op. 32: No. 1 in F-Sharp Major 03:52
34. 3 Pieces, Op. 2: No. 1. Etude in C-Sharp Minor 02:52

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