Concerto In C Major, Hob. VIIb: 1: Finale. Allegro molto
Concerto In D Major: Allegro
Concerto In D Major: Adagio
Concerto In D Major: Rondo
Concerto In D Minor: Allegro molto
Concerto In D Minor: Andante
Concerto In D Minor: Allegro
Pity the poor trumpet player. Years of annoying the neighbors in the quest for a formidable technique, only to discover that he or she has been severely short-changed by the repertoire. Still, necessity is the mother of in... more »vention, and the trumpeter's lot has been greatly enhanced by what is politely referred to as transcription, or, more crudely, pinching that which rightfully belongs to others. This magpie tendency does have a down side--the need to adapt a string concerto (be it for violin, viola, or cello) for a wind instrument is the musical equivalent of kitting out a fish in a set of feathers; it needs tact and sensitivity to avoid sounding freakish, but here choices are well made. The Mendelssohn (the early D minor concerto rather than the more famous one in E minor) is the most surprising success, the trumpet chattering 19-to-the-dozen in the lip-crackingly fiendish finale, with a touching, lyrical extended slow movement. It becomes a much heartier piece with the brass implant, but it's none the worse for that. And the playing? It's beautifully mellifluous and brilliantly virtuosic. Trumpet fanciers will know that Nakariakov is right at the top of the pile. Others can rest assured that they won't hear the instrument played better than this. --Harriet Smith, Amazon.co.uk« less
Pity the poor trumpet player. Years of annoying the neighbors in the quest for a formidable technique, only to discover that he or she has been severely short-changed by the repertoire. Still, necessity is the mother of invention, and the trumpeter's lot has been greatly enhanced by what is politely referred to as transcription, or, more crudely, pinching that which rightfully belongs to others. This magpie tendency does have a down side--the need to adapt a string concerto (be it for violin, viola, or cello) for a wind instrument is the musical equivalent of kitting out a fish in a set of feathers; it needs tact and sensitivity to avoid sounding freakish, but here choices are well made. The Mendelssohn (the early D minor concerto rather than the more famous one in E minor) is the most surprising success, the trumpet chattering 19-to-the-dozen in the lip-crackingly fiendish finale, with a touching, lyrical extended slow movement. It becomes a much heartier piece with the brass implant, but it's none the worse for that. And the playing? It's beautifully mellifluous and brilliantly virtuosic. Trumpet fanciers will know that Nakariakov is right at the top of the pile. Others can rest assured that they won't hear the instrument played better than this. --Harriet Smith, Amazon.co.uk
CD Reviews
A different kind of trumpet playing
10/18/2000
(5 out of 5 stars)
"I'm an old trumpet player. In two ways. I'm old, and I haven't played my horn much in years. I've purchased and listened to many trumpet CDs, and I've always liked the flashy, high-flying style. This album is something quite different. The technical demands on the soloist in these string transcriptions are daunting. Young Mr. Nakariakov clearly has no problems in this area. What impressed me, however, was the sheer musicality of his playing. His sound in the lower register is fat and singing, and he plays the lowest notes on the trumpet (f#, g) with as much conviction as the rest of the range. Trust me, folks, this ain't easy. I almost forgot that I was listening to a brass instrument, because his lines and phrasing are so long and effortless. The boy doesn't seem to breathe! A friend of mine who isn't a musician simply refused to believe that he was listening to a trumpet.Highly recommended."
The brilliant Young master
Joseph Lager | Upstate, NY USA | 01/25/2002
(5 out of 5 stars)
"This CD breaks new bounderies for all trumpet vertuosos that have once been and thoughs that still are. Sergei Nakariakov's trully brilliant musician-ship shines though on his flugel horn playing. Although he has performed on flugel in two of his previous recordings, his mature and soothing sound on this CD is several steps up from his past recordings. His sound is so dark, it can be mistaken for trombone or baratone. On top of this, he delights the ears with what he is known best for, his mind boggling, brilliant phrases appearing flawless and everlasting. His abillity to play notes at such velocities and lagatto at the same time is an amazing skill which shines through in Contertos For Trumpet. This is just one arangement on the CD, there are two more which are just as brilliant."
An essential addition to any trumpeter's library!
Joseph Lager | 10/21/1999
(5 out of 5 stars)
"I admit apprehension when listening to such a young artist for the first time, but the performance and level of musical maturity displayed by Nakariakov in this recording is astounding. The orchestra is supportive of the trumpeter, however sometimes weak in its own playing. I believe this to be a steeping stone for the trumpet into the 21st century in terms of the level of virtuosity that will become the standard for future generations."
Sergei continues to break new ground on the trumpet
Joseph Lager | 09/16/1999
(5 out of 5 stars)
"In this latest recording Nakariakov plays transcriptions of cello, viola, and violin concertos. Many people may cringe at the thought of a trumpet playing anything that was written for a string instrument;however, Nakariakov proves that it doesn't matter what instrument you play, it's all about making music. In the opening track Sergei plays Haydn's cello concerto on the flugel horn. His tone is incredible and his technique is crystal clear. Technique and tone alone won't sell a peice to me, it's Nakariakov's musicality that really makes this CD worth listening to. This CD shows yet another facet of Nakariakov's playing. In his Carmen Fantasy recording he displays his dazzling technique. He then released Elegie that show-cased his ability to play lyrical songs. This album showed us his ability to communicate through his playing. I think this latest CD combines all the facets of those two CDs into one. I really like this CD and recommend buying it. Even if you are a string player."
"Am I overstating? Perhaps the most enjoyable thing I can write here is that I do not think I am! I am a 'new' Nakariakov fan, having only been nurtured when I discovered his last recording, "élégie." What an absolutely moving and all-around beautiful recording THAT was. So much so, that over a half-dozen friends and acquaintances have purchased it (many who do not ordinarily buy serious music). THIS performance so nicely adds to his discography. There is an element to masterful artistic performance that applies to any instrumentalist on any instrument (indeed, the human voice as well). Part of this aspect is responsible for the vague term 'musicality,' and not only surpasses ultimatly tone & technique (its foundation), it is nearly untouchable, indescribable and, when done to perfection, almost imperceptible. So simple (an idea), yet so difficult (to master), I speak of 'phrasing.' This is truly where Sergei overwhelms me. In the embodiment of the music, one truly does feel his living, breathing."
Track Listings (9) - Disc #1