REVIEWS ON HIS CD RELEASE BY CON BRIO RECORDINGS

Prokofiev: Cinderella-Suites op.95, op.97, op.102, Classical Symphony op.25

“The three suites from Cinderella are not heard anywhere near as often. It is welcome to have the complete set available in such compelling performances… I almost come away from the performances with aural knowledge of some details of harmony and /or counterpoint that I was not aware of before hearing it played on a piano. I was particularly impressed by both the arrangement and the execution of the Finale from the Classical Symphony, with all of its repeated notes at a blistering tempo. This is a must for collectors of Prokofieff… He (T.Yerzhanov) has the perfect temperament and all the technical skill to make this a worthy addition to your music library”

“Yerzhanov keeps the independent lines moving in busy, fluent, cascading motion, the “symphonic” patina never in doubt”

Audiophile Audition, 2009

“He is an extraordinary talent whose playing on this album is quite frankly nothing short of astonishing.  Being labeled naturally gifted often belies the sheer dedication required to perform such intricate and challenging pieces as 'effortlessly' as this. What the term does say, however, is that Temirzhan’s playing conveys a talent so at ease with the music, it is as though his deep understanding and respect for the compositions literally radiates from the very recording itself… this wonderful CD helps further the reputation of this truly gifted pianist with a performance that will have Prokofiev himself nodding from on high in acknowledgement of this remarkable talent”

Blogcritics Magazine, 2009

Review by Karl Klebe, Orpheus International, 2005

The recital by pianist Temirzhan Yerzhanov at the Gewandhaus brought his series of appearances in Germany this year to a successful close. This young man was born in Kazakhstan and now lives in the USA. The powerful dynamism and sheer inexhaustible energy with which he captivates his audiences bely his slender frame; he is without doubt a rare phenomenon among pianists.

Opening with three of the countless and little-known Sonatas by Domenico Scarlatti, Yerzhanov enthralled his audience from the very first note. After Sonata K105, its sparkling rhythms limpidly brought out, came all the intensity of K490 and then Sonata No 53, with its Presto marking, offering a foretaste of the exuberant virtuosity to come. It was fascinating to hear the artist reveal the modern spirit of this forward-looking baroque composer while at the same time suggesting the sound of the harpsichord, the instrument for which the Sonatas were written.

As winner of the Schumann Competition, Mr Yerzhanov naturally has a special affinity with the music of that composer; this was immediately clear in his playing of five pieces from Schumann`s Bunte Blatter Op. 59. Carnaval Op. 9 followed and he tackled it with passion, both grasping fully the connection between this series of tableaux and the young Schumann`s impetuous temperament and conveying a vivid picture of the great Romantic`s contrasting outer and inner selves. The piece entitled `Sphynxes` is viewed as unplayable and often omitted but this musician made it a persuasive turning-point midway through the cycle, which he held securely together right through to the final March. The clarity of the playing disclosed nothing exaggerated, nothing blurred.

The second half was devoted to Prokofieff`s Visions Fugitives and Sonata No 2. Here powerful atmospheric images came to life in the players hands. On home territory here, he displayed unerring instinct and a deep personal involvement. Launched with breathtaking virtuosity and kaleidoscopic colours upon a thrilling performance in which he savoured fully the music`s many expressive contrasts, Mr. Yerzhanov never once allowed his brilliance to detract by an iota from the musical content. Without a sign of tiredness he played himself into a frenzy in the fourth movement of the Sonata - and the audience responded with tumultuous applause

Climbing Mount Everest by Heuwell Tircuit, San Francisco Classical Voice, 2007

Pianist Temirzhan Yerzhanov began his recital Friday evening in Old First Church with a gentle meditation and ended with a keyboard tornado. He performed a wide range of repertoire, from Baroque to the high Romantics, and mastered everything from the very simple through the virtually unplayable with apparent ease. "Impressive" hardly covers what his unusually large and adoring audience heard. Yerzhanov`s first half was devoted to two standard German works: Bach`s Toccata in E Minor, BWV 914, and Schumann`s Symphonic Etudes, Op. 13. His all-Russian second half consisted of four works: Tchaikovsky`s Carnival (February) from The Seasons, Op. 37b, and Dumka (Russian Rustic Scene), Op. 59, followed by two almost never encountered compositions, Nicolai Medtner`s Sonata-Reminiscenza, Op. 38, No. 1, and the important and notorious Islamey, Oriental Fantasy of Mily Balakirev. The latter piece belongs to a realm where most pianists fear to tread. Balakirev (1837-1910) was something of a godfather to the Russian Romantics as head of Saint Petersburg`s Mighty Five group himself, Mussorgsky, Rimsky-Korsakov, Borodin, and Cui. Aside from being a major influence on Tchaikovsky, Balakirev helped found the Free School of Music in Saint Petersburg and was a major pianist, a composer and collector of folk music, a conductor, and director of the Imperial Court chapel. With so much varied activity, he had relatively little time left to compose.

A giant in the piano repertory

Islamey (1869) is generally ranked as his most important work. It rather set the pattern for Oriental kitsch in Russian music, and beyond. You can hear strains of Islamey in the better-known Sheherazade, which Rimsky-Korsakov wrote 19 years later. (The two had a falling out about this, to the point that they barely spoke to one another after 1890.) Islamey took the most trying techniques from Liszt`s piano writing and moved them forward into a thorn patch of terrifying proportions. It became known as one of the two or three most difficult piano works ever to appear in print. Many later composers were clearly influenced by it notably Ravel. (Vladimir Janklvitch`s book on the latter composer refers to Ondine and Alborada del Gracioso as being Islamey`s "little sisters.") Yerzhanov tore into the thing with battle flags flying and took no prisoners. This was miraculous playing. It had everything: speed, dynamics, style, beautiful chording, lightning-fast and accurate leaps as his hands frequently had to play one atop the other. The result was not only thrilling for the ear but astounding to the eye. On reflection, I had never before seen a live performance of Islamey. Even the greatest of virtuosos have pointedly avoided it, for as long as I can remember. But when a pianist can pull it off as Yerzhanov did, it`s a huge victory. I was not sure if I should merely applaud or drop to my knees to make salaams. By extreme contrast, Yerzhanov`s Bach managed all the poetry tastefully, with good tempos for this brief work. Unlike the big organ toccatas and fugues, Bach`s toccatas for harpsichord are less flashy and a good deal less dramatic. They`re in four sections, basically a prelude and a short fugue in this case, both ruminative then a mildly dramatic recitative and a second, brilliant fugue. Yerzhanov displayed a fine sense of proportions through those various sections, playing them in an unexaggerated piano style, clear in counterpoint and minus any harpsichord sonics.

A commanding way with Schumann and Tchaikovsky

Schumann`s Symphonic Etudes exist in three versions, the original and two revisions. Then after his death his wife, Clara, agreed to publish the five he had dropped. It`s up to the pianist to decided which, and how many, variations he or she wishes to present. Friday`s program listed this as the original 1837 edition, but that`s not quite true. The original consisted of the theme and 12 etudes. The dozen that Schumann settled on can be expanded to 17, with the five that were added in the revisions. I prefer the shorter, standard version, as did Clara. This, however, is less a matter of the length than of architectural strength. Yerzhanov played everything, including the "appendix" variations and extremely well, too. Having drawn major world attention when he took first place at the 1993 International Schumann Competition in Germany, Yerzhanov has a command of the Schumann style that is to be expected. Both Tchaikovsky pieces went trippingly, the little festive February, and the larger, virtuoso rhapsody that is Dumka his finest concert piece for solo piano. But isn`t it odd that the collection of 12 pieces named after the months is known as The Seasons` Should it not be The Months` (By the way, what amounts to Op. 37a is a big, dull piano Sonata in G Major.)

Less tuneful than Rachmaninov

That leaves Medtner (1880-1951), another Russian piano virtuoso who also composed, and whom Rachmaninov admired greatly. There was, perhaps still is, a Medtner Society in England. Most of his compositions are for piano, one way or another by which I mean songs with piano and such. I`ve not heard a lot of Medtner`s music, but what I have heard has failed to impress me as more than quasi-Rachmaninov, minus the good tunes. Medtner`s 12-minute Sonata-Reminiscenza, in one movement, showed off brilliant piano writing, but was way too episodic. I could almost hear where he put down his pencil each day. Yerzhanov, who now calls the Bay Area home, played it beautifully and respectfully to thunderous applause, but I did not think it worthy of his efforts. For an encore, Yerzhanov played a delicate prelude of Anatoly Liadov`s. The major event, however, remained his stunning performance of the Balakirev. That was a memorable event in my life`s concert experience.

(Heuwell Tircuit is a composer, performer, and writer who was chief writer for Gramophone Japan and for 21 years a music reviewer for the San Francisco Chronicle. He wrote previously for Chicago`s American and the Asahi Evening News.)

Testimonials

"A brilliant talent, he has a subtle and clear soul, and in music he is also refined and sincere."

Professor Mikhail Voskressensky

"I am totally delighted with Temirzhan Yerzhanov, who is absolutely unique talent. He is first rate pianist, a musician with a great sense of ensemble. Listen, he plays everything so variously! That is a true art of accompaniment."

Professor Vazha Chachava

''Pianist Temirzhan Yerzhanov thrilled audiences at last year`s Autumn Apex concert with his amazing solo performance. We liked him so much, we decided to bring him back with the entire orchestra. In Yerzhanov`s capable hands, Chopin`s romantic concerto will "sing" in an astounding range of vocal styles -- from delicate flights of coloratura and fiery operatic recitative to a passionate climax. Join us as we end this season of Music & Memories with an unforgettable season finale.''

San Luis Obispo Symphony Orchestra,

''Concert was a huge success! Temirzhan had performed Prokofiev with such precision, tenderness and depth, as if composer himself was at the piano... Unbelievable combination of power and sensitivity... Was a real honor to have this talented musician at our venue. We`ll have him again, soon!''

Classical Music Encounters, Irvine, CA