joke, attack, and Tempo has the Toccatina in G major, op. 36 for piano Nikolai Kapustin in 1983, wrote in Moscow. In good-humored syncope the right Hand tatzt a chordal theme, the melodic, somewhat reminiscent of the Christian Bruhn-composed commercial of a German provider of home loan and savings contracts. Including the left Hand by jars and shakes her eighth chains like a happy dog toy the Romp. However, these eighth-chains are rhythmized anything other than simple, but in order to realize a Basso continuo, as in a frenzied Bach-prelude, only the accents are different. And although the functional harmonic scheme is as stable as the structure, is the right Hand more and more in polytonale old ration chords – all in a strikingly clear, almost Piano, which reveals a tidy thinker with a sense for jokes – the best Jazz, the do not need to fear comparison with the likes of Chick Corea delicate.
Jan Brachmann
editor in the features section.
F. A. Z.
Nikolai Kapustin, on 22.November 1937 in the Ukrainian Horlivka born, was a life too modest to call himself a Jazz musician, because he looked at Improvisation as Central to it. Kapustin was a composer of the written-out every Detail. As a pianist and he had the best school Rubach enjoyed in Awreljan, a student of the excellent Felix Blumenfeld, 1956, he came to Alexander gold, wiser, a student of Anton Arenskys and friend of Sergei Rachmaninoff’s.
Already Rubach had encouraged Kapustin 1945, to pursue his interests for Jazz, even though he was not allowed to hope in Stalin’s Empire to support. However, in the thaw period Kapustin was as a Pianist in the big bands of Yuri Saulski, and then in the case of Oleg Lundstrem, a pioneer of Soviet Jazz. On Youtube you find a Film from the year 1964: Kapustin, with glasses and a suit as a slightly more robust Bill Evans, playing with Lundstrems Band his Toccata op.8, a piece full of vibrating life of greed, tamed by elegance. His second piano Concerto, which was merged in the seventies, the occupation of a Symphony orchestra with a big band, the Middle movement is a gorgeous Bossa-Nova-Romance.
Kapustin was, for decades, internationally largely unknown. With Jazz from the Soviet Union, in continuation of the of Teddy Wilson and Fats Waller justified the rhythm of stressed Tradition, was expecting just a nobody. Kapustin was a singular Post-avant-garde, with minimalism or Neo-folklorism struck; was not out of atonality and serialism the way in the not as a Martyr, Dissident, or a Prophet, posed, and therefore under the Radar of Western attention.
