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| Russian pianist Nikolai Demidenko’s expressive 1996 renditions of solo piano sonatas No. 1 in F sharp minor (Op. 11) and No. 3 in F minor (Op. 14). |
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| 1 Piano Sonata No. 1 in F sharp minor ('Grosse Sonate'), Op. 11: Introduzione: Un poco adagio - Allegro vivace |
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| 2 Piano Sonata No. 1 in F sharp minor ('Grosse Sonate'), Op. 11: Aria |
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| 3 Piano Sonata No. 1 in F sharp minor ('Grosse Sonate'), Op. 11: Scherzo e Intermezzo: Allegrissimo - Lento |
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| 4 Piano Sonata No. 1 in F sharp minor ('Grosse Sonate'), Op. 11: Allegro un poco maestoso |
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| 5 Piano Sonata No. 3 in F minor ('Concerto Without Orchestra'), Op. 14: Allegro |
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| 6 Piano Sonata No. 3 in F minor ('Concerto Without Orchestra'), Op. 14: Scherzo e Trio: Vivacissimo |
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| 7 Piano Sonata No. 3 in F minor ('Concerto Without Orchestra'), Op. 14: Quasi Variazioni: Andantino de Clara Wieck |
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| 8 Piano Sonata No. 3 in F minor ('Concerto Without Orchestra'), Op. 14: Quasi Variazioni: Variation 1 |
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| 9 Piano Sonata No. 3 in F minor ('Concerto Without Orchestra'), Op. 14: Quasi Variazioni: Variation A |
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| 10 Piano Sonata No. 3 in F minor ('Concerto Without Orchestra'), Op. 14: Quasi Variazioni: Variation 3: Passionato |
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| 11 Piano Sonata No. 3 in F minor ('Concerto Without Orchestra'), Op. 14: Quasi Variazioni: Variation 2 |
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| 12 Piano Sonata No. 3 in F minor ('Concerto Without Orchestra'), Op. 14: Quasi Variazioni: Variation 4 |
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| 13 Piano Sonata No. 3 in F minor ('Concerto Without Orchestra'), Op. 14: Scherzo: Molto commodo |
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| 14 Piano Sonata No. 3 in F minor ('Concerto Without Orchestra'), Op. 14: Prestissimo possibile |
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Album Review
In Nikolai Demidenko's 1996 recording of Schumann's First and Third Piano Sonatas, there's never any doubt but that the composer fully intended to write super-virtuoso works for the instrument. Unlike many pianists, Demidenko takes Schumann's all-but-impossible tempo markings entirely seriously. Here, the First Sonata's Scherzo's Allegrissimo, the Third Sonata's Scherzo's Vivacissimo and even the Third Sonata's Finale's Prestissimo possibile are taken at tempo. The results are thrilling, especially since Demidenko's extreme speeds never compromise his accuracy. Indeed, nothing in Schumann's scores compromises Demidenko's accuracy, not the gnarly textures of the First Sonata's Introduzione nor the reckless double octaves of the Third Sonata's Scherzo. Some listeners might wish for more expressivity in the First Sonata's Aria or more tenderness in the Third Sonata's Variations, but few except Horowitz fans will wish for more virtuosity. An added incentive to try this disc is Demidenko's decision to combine the 1836 and 1853 versions of the Third Sonata, thereby providing more of the Sonata than most recordings. Hyperion's digital sound is uncharacteristically hard and clangorous. ~ James Leonard, All Music Guide
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• Biography
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