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Prokofiev & Zaborov / Jenny Lin

Release Date: 04/21/2017
Label: Steinway & Sons Catalog #: 30055
Composer:  Sergei Prokofiev ,  Kyrill Zaborov Performer:  Jenny Lin

In a Russia still bathing in nostalgia for Chekhov’s novellas and the twilight romanticism of Tchaikovsky, the appearance on the musical scene of Sergei Prokofiev was a major artistic turning point. In the context of early 20th c. complacency, his music was soon to overturn many an article of faith. And in its stylistic expression, my own music is partially inspired by 20th c. Russian tradition, a legacy whose spiritual depth constantly nourishes my imagination with crucial aspects of its mysterious essence.

— Kirill Zaborov

R E V I E W S:

"If, like me, you have never heard Jenny Lin live, you could become an instant fan based on her latest Steinway & Sons recording, “Prokofiev & Read more Zaborov.” Aside from her stellar technical artistry, she seems to have a unique understanding of the character of the music she is playing. Lin’s intriguing selections of rare piano pieces vary from a very young Prokofiev and his piano transcriptions of scenes from the Cinderella ballet score paired with new works from classical/jazz/improv composer Kirill Zaborov. Zaborov has collaborated with Lin in the past and cites her recording of Igor Stravinsky’s piano works as “opening me up to aspects of the composer of which I was unaware and profoundly transforming my view of his music.”

-- Lewis J. Whittington, Concertonet.com

"The impeccable piano playing of Ms. Lin shows her flair for thinking so far outside the box almost no one can keep up with her. In tackling some more classical Russian repertoire, she bookends some solid Prokofiev with recent works by a young Russian that she finds the gold in, all with just ten fingers and no outside help."

--MidWest Record.com [03/31/17]

"Throughout, [Lin's] sense of color and phrasing are seductive—and she captures Prokofiev’s kaleidoscopic spirit, from the intoxication of “Cinderella Goes to the Ball” to the dense obsessiveness of “Despair” (the third of the op. 4 pieces), with consistent acuity. You’d have to go back to Richter to find a better version of Cinderella—and the Four Pieces are equally strong...Strongly recommended."

-- Peter J. Rabinowitz, Fanfare
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