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SERGEI BABAYAN Rachmaninoff Préludes – Études-Tableaux – Moments Musicaux SERGEI BABAYAN Rachmaninoff Préludes – Études-Tableaux – Moments Musicaux

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SERGEI BABAYAN Rachmaninoff Préludes – Études-Tableaux – Moments Musicaux SERGEI BABAYAN Rachmaninoff Préludes – Études-Tableaux – Moments Musicaux SERGEI BABAYAN Rachmaninoff Préludes – Études-Tableaux – Moments musicaux SERGEI BABAYAN Rachmaninoff Préludes – Études-Tableaux – Moments musicaux 2 Sergei Rachmaninoff 1873–1943 A Prélude in A flat major op. 23/8 3:09 I Melody op. 21/9 3:57 As-Dur · Allegro vivace Transcribed for solo piano by Arcadi Volodos B Prélude in G sharp minor op. 32/12 2:41 J Morceau de fantaisie in G minor 0:52 gis-Moll · Allegro Fantasiestück g-Moll · Allegro C Lilacs op. 21/5 3:02 K Prélude in D major op. 23/4 4:54 Flieder · Non allegro D-Dur · Andante cantabile Transcribed for solo piano by the composer L Étude-Tableau in E flat minor op. 39/5 5:30 D Prélude in F minor op. 32/6 1:18 es-Moll · Appassionato f-Moll · Allegro appassionato M Andante 6:32 E Étude-Tableau in C minor op. 33/3 5:18 Movement III from Sonata for Cello and Piano in G minor op. 19 c-Moll · Grave Transcribed for solo piano by Arcadi Volodos F Étude-Tableau in C minor op. 39/1 3:12 N Moment musical in E flat minor op. 16/2 2:54 c-Moll · Allegro agitato es-Moll · Allegretto G Étude-Tableau in A minor op. 39/2 6:11 O Moment musical in C major op. 16/6 5:01 a-Moll · Lento assai C-Dur · Maestoso H Prélude in B minor op. 32/10 6:44 SERGEI BABAYAN piano h-Moll · Lento 3 cannot be closer to the truth is what he hope and happiness, and my profound love trip abroad, in 1989, and immediately A MASTER says about music being Love, being born for Rachmaninoff has lasted ever since.” garnered first prizes in a host of interna- OF EXPRESSION in the heart and appealing only to the heart. Babayan’s piano teacher in Armenia, tional competitions, such as the Cleveland Only a composer of the highest gifts can Georgy Saradjev, also encourgaged the International Piano Competition, the IN SOUND have a craftsmanship of the level where young pianist’s enthusiasm for Rachma- Hamamatsu Piano Competition, and the music sounds like an improvisation, born ninoff. Later on, Babayan went to study Scottish International Piano Competition. spontaneously.” under Mikhail Pletnev, Vera Gornostayeva As his piano career developed, The pianist’s debut solo album on and Lev Naumov at the Moscow Conser- Sergei Babayan focused on the music Deutsche Grammophon is a heartfelt vatory, where his training made him one of a number of composers, delving deep declaration of love for Rachmaninoff’s of the third generation of students in the into the works of Tchaikovsky, Schumann, hat is music? “Music is a calm music in all its many colours and moods. Neuhaus tradition. He then made his first Brahms and Ravel, but returning again W moonlit night, a rustling of sum- Born in Armenia in 1961, Babayan came mer foliage. Music is the distant peal of across Rachmaninoff at a difficult stage in bells at eventide! Music is born only in the his life. He was thirteen years old, tussling heart and it appeals only to the heart; it is with the piano and finding little pleasure Love! The sister of Music is Poesy, and its any more in practising. Then his father gave mother is Sorrow!” These are the words him a recording of Rachmaninoff’s Second Sergei Rachmaninoff used to describe his Piano Concerto. It was love at first note, as conception of music. Babayan explains: “It was unimaginable. “It is disarming,” says Sergei Babayan, From the moment I heard the opening of “but even Sergei Rachmaninoff, with his the Second Concerto I was completely highly sophisticated description of what spellbound. I stopped going out, stopped music is, is not able to describe even a frac- meeting my friends or answering the tion of what his own music is. His emotional phone… I was completely obsessed with palette is limitless. It would be impossible everything: the melodies, harmonies, the to begin to describe what kind of healing complex chromatic shifts in the counter- power it has. It is a spring garden of new points and the ineffable beauty of the inner hopes and rebirth, new inspirations and voices; all I did was listen to this music, and new beginnings for those who have lost soon I tried to play it myself. I was glued to their way and their faith. One thing which the piano. This piece gave me indescribable 4 and again to the work of J.S. Bach above Interpreted by Babayan, these individ- each a self-contained piece that seems to becomes,” says Babayan. Consequently, all. Nevertheless, Rachmaninoff’s music ual works fuse into one taut, exciting narra- emerge from the moment, but at the same developing a new piece is a long process has been like an ever-present beacon in his tive full of dynamic contrasts. “The various time demonstrates a “brilliantly construct- of going back over the music again and life. “Whatever else I might be playing, for pieces combined together create a com- ed in ner structure”. again. He starts off by laying down the fun- me Rachmaninoff was always there,” says pletely individual story. One piece leads The Études-Tableaux are another damental ideas of a work, then goes into Babayan, and to this day he finds the same into another, one mood flows into the next. ex am ple where Rachmaninoff’s music the details and breaks the piece down into capacity for healing in Rachmaninoff’s I didn’t want to play any ready-made cycles and her sister “Poesy” walk hand in hand. its constituent parts – falling in love with music that he experienced as a youngster. of complete works from the Préludes or “Poetry is the nature of those pictures. every single nuance on the way – only to At the same time, Rachmaninoff’s works the Études-Tableaux for this album. What Al though pianistically challenging, their finally put everything back together again. reflect for the pianist both the compos- I wanted was to create a cycle of my own,” most important meaning is to create im- Babayan is convinced that “one tiny detail, er’s “deep Russian soul” and the way he is Babayan explains; and, like a painter who ages of striking beauty and depth.” one bar constructed differently, changes rooted in the Russian Orthodox tradition, keeps taking a step back to check the can- Sergei Babayan is a painstaking per- the entire piece”. with the added richness of the unmistakable vas from a distance, he gradually arrived at fectionist who works on the sound with great This is how the artist gives voice to this influence of Sinti and Roma cultures. “It is all this definitive selection of pieces. sensitivity, and spends years polishing up music too – the music that Rachmaninoff these elements that make Rachmaninoff’s What unites all the pieces on the his recital programmes, going over them once identified as the sister of “Poesy” and music so special,” says Babayan. album is the fundamentally improvisatory and re-examining them again and again the daughter of “Sorrow”: with a fundamen- For this album, Babayan has chosen character of the composer’s musical lan- before he considers them to have reached tal warmth of sound, and a broad range to juxtapose a number of this Romantic guage. “Rachmaninoff had an amazing the right level of maturity to be performed and depth of emotion. “The opportunity composer’s piano miniatures that have gift for improvisation that was wedded in concert. The same objective is reflected to speak to people through music and to been companions and an inspiration to to a great depth of knowledge and unri- in the recordings for this album, all done in move them – that’s what basically moti- him over many years. They include se- valled craftsmanship,” as Babayan puts it. only a small number of takes, and they con- vates every single artist,” says Babayan. lected pieces from the Ten Préludes “From a cell of just a few notes he creates sequently have a natural emotional direct- “What I hope is that this music can help op. 23 and the Thirteen Préludes op. 32, a mood, and what he then develops from ness. Babayan’s playing is a celebration of people, that it can heal them of their pain the Études-Tableaux opp. 33 and 39, the it seems like a single flowing phrase, such the expressive power of sound, and he thus and worldly existence. That is why I’m a Six Moments musicaux op. 16, as well as an endless stream of melody that we are sometimes feels like an actor rehearsing his musician: to give to others hope for eternal various transcriptions: the third move- barely aware of the work that has gone role, trying out different emphases, grap- renewal, spring, new light and love.” ment of the Cello Sonata op. 19 and the into it. That is the truest sign of a compos- pling with every sentence, and continually two songs “Lilacs” and “Melody” from the er’s greatness.” The Préludes especially shifting the stress. “The more you’ve inter- DOROTHEA WALCHSHÄUSL op. 21 set, that Babayan has known and bear witness to this – for Babayan, they nalized different expressive possibilities, Translation: Kenneth Chalmers loved since he was a child. are infinite examples of “absolute music”, the deeper your interpretation ultimately 5 man das wahrer gar nicht ausdrücken. Nur EIN MEISTER ein mit größten Gaben gesegneter Kom- DES SPRECHENDEN ponist verfügt über die Kunstfertigkeit, seine Musik wie aus dem Moment heraus KLANGS geboren klingen zu lassen.« Das Solo-Debütalbum des Pianisten bei Deutsche Grammophon ist eine innige as ist Musik? »Eine ruhige Mond- Liebeserklärung an die Musik Rachma- Wnacht, das Rauschen der Blätter, ninoffs mit all ihren farblichen Facetten entferntes Abendläuten.
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