|Ukraine-born Roman Viazovskiy presents an exceptionally well filled
disc, with five sonatas – none overperformed, and two receiving
their premiere recording.
Viazovskiy is entirely in command of these
works technically. Musically, too, he is at home with their stylistic
variety. The Berkeley Sonatina has a limpid clarity which not all players
manage. Viazovskiy’s intelligent phrasing enables the musical
logic to emerge clearly in the first movement. The Rodrigo Sonata Giocosa
and Castelnuovo-Tedesco Sonata are equally well handled. In particular,
Viazovskiy brings great sprightliness to the first movement of the Castelnuovo-Tedesco.
The two pieces by Vassiliev are new to disc. The Sonata-Fantasy is
a four-movement work inspired by Shakespeare’s Romeo and Juliet.
The third movement, "The Fight", is particularly impressive
– dynamic and menacing. The other movements are less focused and
not so clearly characterised. Vassiliev’s three-movement Sonata,
however, is more successful, and formally more adventurous. It deserves
to be taken up by more players. A Scherzo opens the work, followed by
a slow Passacaglia with a processional feel. The final movement is a
tour de force for both composer and performer. It is based on a few
motifs that undergo ingenious transformations, including at one point
a lyrical slow interlude. Vassiliev shows he can create an extended
movement by unpacking the possibilities of small amount of musical material,
instead of having to introduce new themes.
This fine disc is an excellent introduction both to Viazovskiy and
to some excellent music.
Allan Clive Jones
Review von CD "Sonatas" in "Classical guitar magazine",
He [Roman Viazovskiy] achieved something few
people can achieve – an almost perfect harmony of emotion (and
believe me, there was a lot of it at the concert) and control over the
technical difficulty of such pieces as Sonata Giocosa (Rodrigo) and
Koshkin’s Introduction and Vivace. He built up incredible suspense
in a masterly way, and riveted the audience’s attention with every
note of his guitar. A revelation.
Concert review in "Classical Guitar Magazine",
From the outset Viazovskiy leaves one in no doubt
that there is a player to be reckoned with: his phenomenal technical
virtuosity and first-rate musicianship raising the standard of interpretation
of this music on a level with the best of them.
He has the luxury of having the whole gamut of emotions in his playing,
being able to call on demand such delicacy and tenderness when needed,
as in the delightful Pavana from Antonio José's Sonata and Brouwers's
Cancion de Cuna and aggression and impassioned energy as in both Sonatas
from the same two composers.
The undoubted highlight for this reviewer are the two works by Konstantin
Vassiliev, due, no doubt, partly in their unfamiliarity but also for
the skilful way the composer has woven into what amounts to around eighteen
minutes worth of solo guitar music such a rich tapestry of emotions.
This is wonderful writing for the instrument - some of the best of modern
After all the fireworks, Viazovskiy choses to end the programme with
the stunningly beautiful Egberto Gismonti work Agua e Vinho and leaves
in a whisper. Certainly Fatum is one the best recordings I have reviewed
over recent years, the playing is immaculate, the programme has no low
points, what more could one ask for?
“Classical Guitar Magazine”, May 2002
With his first CD the young ukrainian guitarist
already lets us discover his new performance, that shows a breath of
vivid liveliness, like the russian composer Konstantin Vassiliev. “Fatum”
is a sequence of instrumental movements, the theme presenting his native
land. “Three forest paintings” gives honour to the guitar
in three varying levels, which are not without greatness and brilliancy,
offering the smoothness of Bukolik onwards to devillishly frantic dance.
The “Sonata” (1933), from the spanish composer Antonio
Josè, the friend of Lorca, who was also shot very young, is the
work of a young composer who was predicted (through Ravel) , to have
a great future, but at the age of 35 it was all over. Thanks to this
young concert guitarist,
Roman Viazovskiy, who achieved the first prize at the International
Concert Guitar Contest, in Tokyo, for his perfect and elaborate presentation
of his version of “Sonata”, the late discovered four compositons
fill a gap in the early 20 century.
Undoubtedly everything is present in this remarkable interpretation:
artistic perfection and brilliance, the highest tone quality, transparent
expression of sound, excellent guitare musik.
“Les Cahiers de la Guitare”, No. 84/2002