This beautiful album is just interesting for two reasons. The first is that it shows us a pianist who comes here his first album. There are quite a few of information on it, as in the album booklet on the Internet. Nothing is known of his age, but what is known is born in a dartiste family (his father is a painter) in Armenia, in Yerevan, where she began her music studies, which made its first move in concert age of 14 years with the first Beethoven concerto and his first recital at the age of 23 years at Carnegie Hall, which is rather a reference. She lives in New York since 1998 where she teaches piano. It is described as "extraordinary" and "larger than life".
This album reflects no doubt the talent of Karine Poghosyan and you can hear it again quespérer disk, perhaps in other works by Khachaturian which it is clearly a specialist.
The second benefit of this album is to make us discover precisely a somewhat neglected part of the oeuvre of the Armenian composer, best known for his many concertos (including piano and violin) or ballets.
It is therefore here First of original piano pieces that we can hear: short pieces, like a motoric toccata and twirling, two small dance pieces, and Poem, youth room there as energetic and lyrical at once. And then there was a sonata, later work in the classical form, alternately incisive and emotional turn if not sentimental. In this register is discovered, the world's first two tanscriptions also learned ballet composer: Piano adaptation (Matthew Cameron) Suite No. 2 (adagio) drawn from Spartacus, very melodic, almost cinematic in sentimental theme very easy to access; and extracts, again adapted for piano (by Alexander Dolukhanian) on the implementation of Masquarade fired three parts dune infinite grace, a famous waltz, lively and a little melancholy.
We know the tragic mishaps suffered by Khachaturian (like other Soviet composers) during the Stalinist period (from 1948, and the notorious decree Jadnov). This did not prevent him from leaving, it seems, a work for piano very important. We like to rediscover the originality of his music (playing on emotion and lyricism quite direct, but also on the often chaotic and frenzied rhythms, and harmonies marked by Armenian originally) which, without reaching perhaps the genius of Prokofiev or Shostakovich, seduces the listener and touch.
