Schubert: Sonata, Moments musicaux & 3 Klavierstücke Dina Ugorskaja

• Franz Schubert (1797 - 1828): Sonata No. 21 in B-Flat Major, D. 960:
• 1Sonata No. 21 in B-Flat Major, D. 960: I. Molto moderato23:50
• 2Sonata No. 21 in B-Flat Major, D. 960: II. Andante sostenuto11:03
• 3Sonata No. 21 in B-Flat Major, D. 960: III. Allegro vivace con delicatezza04:26
• 4Sonata No. 21 in B-Flat Major, D. 960: IV. Allegro ma non troppo09:24
• 3 Klavierstücke, D. 946:
• 53 Klavierstücke, D. 946: No. 1 in E Sharp Minor. Allegro assai09:07
• 63 Klavierstücke, D. 946: No. 2 in E Sharp Major. Allegretto12:05
• 73 Klavierstücke, D. 946: No. 3 in C Major. Allegro05:21
• Moments musicaux, Op. 94, D. 780:
• 8Moments musicaux, Op. 94, D. 780: No. 1 in C Major. Moderato07:26
• 9Moments musicaux, Op. 94, D. 780: No. 2 in A Sharp Major. Andantino07:18
• 10Moments musicaux, Op. 94, D. 780: No. 3 in F Minor. Allegro moderato02:09
• 11Moments musicaux, Op. 94, D. 780: No. 4 in C Sharp Minor. Moderato06:16
• 12Moments musicaux, Op. 94, D. 780: No. 5 in F Minor. Allegro Vivace02:14
• 13Moments musicaux, Op. 94, D. 780: No. 6 in A Sharp Major. Allegretto09:21
• Total Runtime01:50:00

Info for Schubert: Sonata, Moments musicaux & 3 Klavierstücke

“Schubert and his “heavenly lengths” have accompanied me throughout my entire life. In this music, time occasionally seems to stand still: the state of lingering and resting seems to predominate above all others. We are overwhelmed with unbearable pain, with abysses of despair and hopelessness. How can it be that the confrontation with death – so immediately present in this music – dissolves all of a sudden into a floating, ethereal impermanence? Unexpected joy emerges, as if we were hearing the laughing of a child.

The child’s perspective, combined with unparalleled maturity, makes up the essence of Franz Schubert’s music as I see it. It reminds me of a passage from Schiller.

In 1795, three years before Schubert’s birth, Friedrich Schiller wrote in his treatise “On Naïve and Sentimental Poetry”: “Thus, for us, the child is the incarnation of the ideal: not the ideal we see fulfilled, but one we have renounced. We are by no means moved by our perception of the child’s limits and its helplessness, but rather by the way we conceive the child’s pure, free energy, its integrity, its endless possibilities. A moral, sensitive person shall thus revere the child as a holy object – an object of which the idea is so sublime that it demolishes any greatness that stems from experience. No matter how much the object may lose in our regard when we judge it by means of practical perception, it gains all the more richly when it is judged by ideal reasoning.” ………. (from the Booklet notes by Dina Ugorskaja)

Dina Ugorskaja, piano

Dina Ugorskaja
When she was seven years old, Dina Ugorskaja gave her first public performance in the Philharmonic Hall of her home town of Leningrad (today renamed Saint Petersburg). Born in 1973, she received her first musical instruction from her father, Anatol Ugorski, and from Maria Mekler. She also took voice lessons specialising in early music. From 1980 to 1990 she studied piano and composition at the special music school for gifted children at Rimsky-Korsakov Conservatory. In the meantime, she continued making public appearances in solo recitals, in chamber music and in piano concertos with orchestra. Her first string quartet, composed when she was fifteen, was premiered in the Saint Petersburg Philharmonic Hall. The Ugorski family left Russia in 1990. Dina Ugorskaja pursued her studies at Hanns Eisler School of Music in Berlin with Prof. Galina Iwanzowa before going on to the Musikhochschule in Detmold, where she studied under Prof. Nerine Barrett and obtained her solo diploma with honours in 2001. She also received important counsel from musicians such as Ruvim Ostrovski, Edith Picht-Axenfeld, Andras Schiff and Hans-Dietrich Klaus.

From 2002 to 2007, Ugorskaja taught at the Musikhochschule in Detmold. She then relocated to Munich, where she lives now.

Dina Ugorskaja made appearances at the festivals of Schwetzingen, Hitzacker, Dijon, Rottweiler, Kassel, the Feldkirch Schubertiad and others. She has made guest appearances in Bayreuth, Berlin, Dortmund, Bielefeld, Cologne Philharmonie, Leipzig Gewandhaus and Stuttgart Liederhalle, performing solo piano concertos with the following orchestras: Mitteldeutscher Rundfunk (Leipzig), the South West Chamber Orchestra (Pforzheim), the North West German Philharmonic (Herford), the Wurttemberg Philharmonic (Reutlingen), the Lemberg Philharmonia Orchestra (Ukraine), the Vladimir Philharmonic Governor's Symphony Orchestra (Russia) and St. Petersburg State Symphony Orchestra. She has worked together with conductors of the likes of Ravil Martynov, Vladimir Jurowski, Vladislav Czarnecki, Norichika Limori and Peter Gülke. Chamber music partners have included Hans-Dietrich Klaus (clarinet), Sergio Azzolini (bassoon), Natalia Prishepenko (violin), Anna Lewis (viola), Xenia Jankovic (cello), the Auryn Quartet and Ugorskaja's own father, Anatol Ugorski (piano).

Dina Ugorskaja has made several CD releases. The earlier ones feature works by Bach, Handel, Beethoven, Chopin and Shostakovich, including a joint recording of the Bach and Mozart two-piano concertos with her father Anatol Ugorski. Her recording of the late works of Robert Schumann has been nominated for the 2011 International Classical Music Awards. The most recent releases feature six Beethoven's late piano sonatas; the last Beethoven-CD was nominated for the 2013 German Record Critic's Award.

German classical music magazine Fono Forum recently remarked: 'Dina Ugorskaja's interpretations are particularly credible, thanks to their independence and originality. [...] She applies her own creative fantasy to the music as its unfolds, and she is able to make the rhythm 'breathe' without ever disrespecting what is written in the score.' (Translated by Stanley Hanks)

Booklet for Schubert: Sonata, Moments musicaux & 3 Klavierstücke