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L. van Beethoven
Sonate op. 27 n° 2 (« Clair de lune »)
Carnaval op. 9
Andante spianato et Grande polonaise op. 223
Mazurkas op. 59
Rhapsodie hongroise n° 12
Born in Kazan in Tatarstan, ROUSTEM SAITKOULOV trained at the National Conservatory of his country, then at the Tchaikovsky Conservatory in Moscow (class of Elisso Virsaladze). A series of international prizes opened the doors to major concert halls around the world: Salle Pleyel, Théâtre du Châtelet, Wigmore Hall in London, Accademia Santa Cecilia in Rome, Tonhalle in Zurich, Konzerthaus in Berlin, St Petersburg Philharmonic, Tokyo Metropolitan Art Space, NCPA (National Center for the Performing Arts) in Beijing and the Forbidden City, the Sydney Opera House, the Teatro Colon and the Nestor Kirchner Cultural Centre in Buenos-Aires, the Palacio de Bellas Artes in Mexico City, as well as major festivals such as La Roque d’Anthéron, Montreux, Edinburgh (2016)… His CD ‘Piano Etudes’ (Arensky, Chopin, Prokofiev, Scriabin, Stravinsky), released by EMI Classics, caused a sensation among European critics. In 2020, he recorded a new disc: ‘Chopin’, again to critical acclaim. At the same time, Roustem Saïtkoulov and Maxim Vengerov have formed a duo that has been acclaimed the world over.
“There is nothing in Roustem Saïtkoulov’s playing that seeks the applause of the audience. He has even been seen at the Salle Gaveau performing three encore concerts without any time for applause, so that the music takes centre stage right to the end and the pianist is spared the ceremony of taking the bows and going back and forth between backstage and the stage. We even fear that his personality might lead him to be annoyed that people might say that he is not a good Chopin player but an exceptional Chopin player. Nevertheless, we’ll maintain. All you have to do is listen to the first phrase on the disc, and see how the painful questioning is accomplished in perfect rubato. Which is not to say that he only plays the questioning Chopin well: the other, fantastic Chopin is just as much a part of this recording, and the fingers give their all when the composer’s fury takes hold. But with Roustem Saïtkoulov even the swell remains noble, the virtuosity virtuous and the despair pure”. Eric Fiat