Maria Yudina

[George]

Reviews: (To keep things simple, I will post new reviews, as they are written, in the main body of the thread and also paste a copy here, in this post.) 




I have been listening to Yudina's Beethoven lately and find it invigorating and refreshing. She plays this music like no one else that I have heard. She's serious and somehow playful at the same time. Powerful and emotional, she takes liberties with the score in a way that some may frown upon, but I love it! Every recording I have heard of hers sounds alive and original.

Today I am listening to her Hammerklavier, which is magnificent! She plays it almost as an improvisation, yet manages to make so much sense out of this difficult score. The sound is not perfect, but it is clear and reveals her sweet tone. Only in forte passages does the dry sound break up. Her urgency can become sloppy in spots, but I didn't mind the rough edges. With playing that has this much energy and does such an incredible job of highlighting the many contrasts in the score, I can have no complaints. The second movement is even better, flawlessly played with wonderfully fluid rhythms. The third movement is wonderfully dark and solemn. If it doesn't hold together as much as I would have liked, it was still touching. The finale takes off like a bullet, and her energy finally gets the best of the piano, which begins to go out of tune soon after. This is a shame, considering her performance was so compelling. She sounds like a woman on a mission, and I was more than happy to come along for the ride. 






After enjoying her Hammerklavier, I needed to hear more of Yudina's Beethoven. Her Op. 54 was excellent, at about the same level as her Hammerklavier. She creates a wonderfully mysterious quality in the opening. Overall her tempos are slower than usual and her unique style is apparent from the start. In the finale she's even better, with a forward momentum that is impressive, especially at the slower tempo. I love her big piano sound, although it must be said that this CD is not for audiophiles. The sound breaks up and at times dulls her tone, but with music making such as this, I soon was able to ignore any sonic limitations.

As good as her Op. 54 was, her Op. 10/1 and 26 were even better! In the earlier work, she has a nice playful, even childlike style that alternates with intense power and energy. She is stunning in slow movement, showing a level of refinement that I had not previously heard in her performances. The finale shows a small drop in quality, but was still exciting. Op. 26 begins delicately and solemnly. The variations are played with great individuality, much like her Diabelli's. The quiet mood is interrupted by storming variations that give way again to peaceful variations. Her authority, playfulness and energy are second to none in the scherzo that follows. Then the famous slow movement is taken at a slower pace that deepens the severity and solemnity of the music. As it continued I wished for even more emotional connection with the music, but this was not to be. The finale left me breathless, as she played again with superb forward momentum. She does not quite match Richter in these two works. Instead, she provides something better - very individual, refreshing readings of works that I have heard played by many other pianists. She cannot be mistaken for anyone, though often her energy reminds me of Schnabel and her unique approach to the music reminds me of Gould.

This disc clearly saves the best for last. Her Op. 111 is one of, if not the best that I have ever heard. Her quirky style is apparent form the opening bars, where enters commandingly, then descends to a delicate pianissimo. This dramatically builds in excitement to the heroic theme, which she plays splendidly. Then bang! She releases this torrent of energy and forward motion that I could only sit in awe of. Simply incredible! She takes the second and final movement faster than anyone I have heard (except Backhaus) yet, does not lose a bit of the tenderness and profoundity of the theme. In fact, I see her faster tempo as an advantage. Pianists like Barenboim stretch the tempo so far that the theme becomes unintelligible. In Yudina's hands, just like her Hammerklavier, all is revealed. The variations fall beautifully and the work as a whole is presented in a clear manner. If her trills aren't perfect, her overall conception is so focused that it was easy to get lost in the music. Time will tell if this is my very favorite, but she is a special kind of Beethoven performer, one that keeps the music fresh and alive.   






For this CD, I will focus only on the Piano Sonatas. In Op. 31/1 I saw a slight decline in quality, not only in sound but in performance. The dry, almost bassless sound was difficult to adjust to, but her energetic, playful style made it easier to do so in the first movement. Her extremely slow slow movement (I haven't heard slower here) was nice enough, but it lacked the refinement and poetry of Gilels's version (also much slower than normal). Unfortunately the finale was even worse, with her mostly unsmiling ways with this composer not working to her advantage. Fortunately, in the next sonata, Op. 90, she does better. Her first movement is taken at a much slower than usual pace. She plays solemnly and quickly won me over with her individual reading. It was like hearing it again for the first time, very refreshing. Then the finale is taken much faster than I am used to (about 2 minutes faster than the norm.) Somehow this makes sense at first, as this is a finale, but at this tempo the music loses some of its charm and beauty. Her Op. 101 turned out to be the best of all here. Her opening movement was thankfully not rushed, nor did she overpower the music, providing a nice balance of soft touch and power. She then storms in for the second movement, with an authority I haven't quite heard before. It was a bit harsh in spots, as she overdoes things, but I liked it! In the third movement she conjures up a wonderfully mysterious mood as things quiet down, then in the finale she lets loose. Yudina begins incredibly, with an excellent forward momentum. While displaying great power and panache, I was impressed with her willingness to slow down and play quietly when required.



_____________________________________________




As I finish my survey of the available Yudina recordings of LvB piano sonatas, I have bad news about the three available live performances. First, Op. 111 is handled with much less care than it is in the studio version. So much so, that I won't even bother to share more information. I will simply encourage you to get her studio version on Vista Vera as I find it to be one of the very great readings of the work. Her Tempest is better, recorded live in Kiev in 1954. Unfortunately, the sound is terrible, likely a bootleg recording. As a result of this poor sound, the piano's tone was distorted and thus sounded just weird and at times and could be best decribed as sounding like a video game. As is her usual style, she bursts forth with an incredibly individual reading of this great work. I didn't enjoy it as much as I admired her courage and inventiveness. Her first movement is a full minute faster than the norm, immediately creating a great sense of urgency. Luckily her technique could handle it and there are passages that work well in this style. However, overall I found it too urgent, too focused on the tempest element and missing the musical one. The central movement was two minutes faster than the norm, creating a matter-of-fact mood that did not work for me. The finale was even faster than the great Schnabel, at this point far from the indicated allegretto marking. Like the first movement, she holds things together remarkably well, but also like the opening movement she loses too much musically. Finally, her Moonlight from the same concert was more successful. The first movement was taken on the slow side and though she creates some nice mystery, she also hesitates too much in spots, playing with the tempo too much. Her fast central movement created a nice contrast of mood but again, due to the sound limitations, the piano tone was atrocious in the finale. She conveys nice forward momentum, but the sound makes it very hard to enjoy the music. Therefore, I cannot recommend these recordings. If you wish to hear them for yourself, you can order them through the official Maria Yudina website. The Vista Vera discs are more widely available and can be recommended for fan of Beethoven and fans of eccentric performers.   


             

[Gurn Blanston]

I have her Diabelli Variations on Vista Vera (Volume 1 of that series), along with the Op 35 "Eroica Variations". Have to agree, lively playing, totally comfortable with the music and its demands on the player. I'd be interested in that Hammerklavier, have to check that out.

[Larry Rinkel]

As someone on another forum wrote, she plays like a tractor. A "no" from me.

[Harry Collier]

Yes, I also love her Diabelli Variations. Also not to be missed is her Brahms Handel Variations -- really barn-storming stuff.

[sidoze]

For once a Tempest Sonata which lives up to its name.

[George]

After enjoying her Hammerklavier, I needed to hear more of Yudina's Beethoven. Her Op. 54 was excellent, at about the same level as her Hammerklavier. She creates a wonderfully mysterious quality in the opening. Overall her tempos are slower than usual and her unique style is apparent from the start. In the finale she's even better, with a forward momentum that is impressive, especially at the slower tempo. I love her big piano sound, although it must be said that this CD is not for audiophiles. The sound breaks up and at times dulls her tone, but with music making such as this, I soon was able to ignore any sonic limitations.

As good as her Op. 54 was, her Op. 10/1 and 26 were even better! In the earlier work, she has a nice playful, even childlike style that alternates with intense power and energy. She is stunning in slow movement, showing a level of refinement that I had not previously heard in her performances. The finale shows a small drop in quality, but was still exciting. Op. 26 begins delicately and solemnly. The variations are played with great individuality, much like her Diabelli's. The quiet mood is interrupted by storming variations that give way again to peaceful variations. Her authority, playfulness and energy are second to none in the scherzo that follows. Then the famous slow movement is taken at a slower pace that deepens the severity and solemnity of the music. As it continued I wished for even more emotional connection with the music, but this was not to be. The finale left me breathless, as she played again with superb forward momentum. She does not quite match Richter in these two works. Instead, she provides something better - very individual, refreshing readings of works that I have heard played by many other pianists. She cannot be mistaken for anyone, though often her energy reminds me of Schnabel and her unique approach to the music reminds me of Gould.

This disc clearly saves the best for last. Her Op. 111 is one of, if not the best that I have ever heard. Her quirky style is apparent form the opening bars, where enters commandingly, then descends to a delicate pianissimo. This dramatically builds in excitement to the heroic theme, which she plays splendidly. Then bang! She releases this torrent of energy and forward motion that I could only sit in awe of. Simply incredible! She takes the second and final movement faster than anyone I have heard (except Backhaus) yet, does not lose a bit of the tenderness and profoundity of the theme. In fact, I see her faster tempo as an advantage. Pianists like Barenboim stretch the tempo so far that the theme becomes unintelligible. In Yudina's hands, just like her Hammerklavier, all is revealed. The variations fall beautifully and the work as a whole is presented in a clear manner. If her trills aren't perfect, her overall conception is so focused that it was easy to get lost in the music. Time will tell if this is my very favorite, but she is a special kind of Beethoven performer, one that keeps the music fresh and alive.                 

[orbital]

Nice reviews George, thank you.

[George]

Nice reviews George, thank you.

My pleasure.

[Larry Rinkel]

Then bang!              

Yes, she certainly does.

[George]

For once a Tempest Sonata which lives up to its name.

Yes. Once I hear it again, I will post my thoughts. I now have all of the available recordings of her LvB sonatas (and her GPOTC).

I have Op. 10/1, 26, 27/2 (live), 31/1, 31/2 (live), 54, 90, 101, 106, 111 (live and studio)

[Bonehelm]

For Tempest Sonata, you guys definitely need to check out Jeno Jando's recording for Naxos. It's about as good as the piece can get. Only thing is that the tempo is slightly faster than other many versions

[George]

For Tempest Sonata, you guys definitely need to check out Jeno Jando's recording for Naxos. It's about as good as the piece can get. Only thing is that the tempo is slightly faster than other many versions

What are the timings for the three movements?

[George]

For this CD, I will focus only on the Piano Sonatas. In Op. 31/1 I saw a slight decline in quality, not only in sound but in performance. The dry, almost bassless sound was difficult to adjust to, but her energetic, playful style made it easier to do so in the first movement. Her extremely slow slow movement (I haven't heard slower here) was nice enough, but it lacked the refinement and poetry of Gilels's version (also much slower than normal). Unfortunately the finale was even worse, with her mostly unsmiling ways with this composer not working to her advantage. Fortunately, in the next sonata, Op. 90, she does better. Her first movement is taken at a much slower than usual pace. She plays solemnly and quickly won me over with her individual reading. It was like hearing it again for the first time, very refreshing. Then the finale is taken much faster than I am used to (about 2 minutes faster than the norm.) Somehow this makes sense at first, as this is a finale, but at this tempo the music loses some of its charm and beauty. Her Op. 101 turned out to be the best of all here. Her opening movement was thankfully not rushed, nor did she overpower the music, providing a nice balance of soft touch and power. She then storms in for the second movement, with an authority I haven't quite heard before. It was a bit harsh in spots, as she overdoes things, but I liked it! In the third movement she conjures up a wonderfully mysterious mood as things quiet down, then in the finale she lets loose. Yudina begins incredibly, with an excellent forward momentum. While displaying great power and panache, I was impressed with her willingness to slow down and play quietly when required.

Next up, I plan to review the two remaining Yudina LvB Piano Sonatas in my collection; her live Tempest and Moonlight Sonatas from Kiev, 1954.       

[George]

As I finish my survey of the available Yudina recordings of LvB piano sonatas, I have bad news about the three available live performances. First, Op. 111 is handled with much less care than it is in the studio version. So much so, that I won't even bother to share more information. I will simply encourage you to get her studio version on Vista Vera as I find it to be one of the very great readings of the work. Her Tempest is better, recorded live in Kiev in 1954. Unfortunately, the sound is terrible, likely a bootleg recording. As a result of this poor sound, the piano's tone was distorted and thus sounded just weird and at times and could be best decribed as sounding like a video game. As is her usual style, she bursts forth with an incredibly individual reading of this great work. I didn't enjoy it as much as I admired her courage and inventiveness. Her first movement is a full minute faster than the norm, immediately creating a great sense of urgency. Luckily her technique could handle it and there are passages that work well in this style. However, overall I found it too urgent, too focused on the tempest element and missing the musical one. The central movement was two minutes faster than the norm, creating a matter-of-fact mood that did not work for me. The finale was even faster than the great Schnabel, at this point far from the indicated allegretto marking. Like the first movement, she holds things together remarkably well, but also like the opening movement she loses too much musically. Finally, her Moonlight from the same concert was more successful. The first movement was taken on the slow side and though she creates some nice mystery, she also hesitates too much in spots, playing with the tempo too much. Her fast central movement created a nice contrast of mood but again, due to the sound limitations, the piano tone was atrocious in the finale. She conveys nice forward momentum, but the sound makes it very hard to enjoy the music. Therefore, I cannot recommend these recordings. If you wish to hear them for yourself, you can order them through the official Maria Yudina website. The Vista Vera discs are more widely available and can be recommended for fan of Beethoven and fans of eccentric performers.   

Next I will review her Diabelli Variations. 

[sidoze]

Unfortunately, the sound is terrible, likely a bootleg recording.

Which CD do you have of these Kiev recordings? The TNC? That one includes a marvelous D960

As for her tone, well, she was the Bag Lady, or tractor woman, whichever you please. You can't expect to hear tone like Gieseking / Michelangeli et al or even a pleasant tone actually. There's that well-known story Richter conveys of her recital of Bach during the war, when she played one particular Prelude fortissimo the whole way thhough. You know what she answered when questioned about it.

Finally, her Moonlight from the same concert was more successful.

I always loved this performance, probably the one I like most after the live Hofmann on Marston and along with the live Gilels.

[George]

Which CD do you have of these Kiev recordings? The TNC? That one includes a marvelous D960

I have only the first half of the recital, ordered off the website.

As for her tone, well, she was the Bag Lady, or tractor woman, whichever you please. You can't expect to hear tone like Gieseking / Michelangeli et al or even a pleasant tone actually.

No, I don't. I just was saying that her tone was hard to hear beneath the poor sound. However, her tone on much of the Vista Vera recordings was much better, but then so was the sound. I will edit my review to make it clear that it was the sound that contributed to the poor tone IMO.   

There's that well-known story Richter conveys of her recital of Bach during the war, when she played one particular Prelude fortissimo the whole way thhough. You know what she answered when questioned about it.

That she was taking dictation from above?  0:)

I always loved this performance, probably the one I like most after the live Hofmann on Marston and along with the live Gilels.

I certainly agree about the live Gilels. They should release ever live performance he ever did. They sound like another pianist, one with much less concern about control. Haven't heard the Hofmann.

[SimonGodders]

I certainly agree about the live Gilels. They should release ever live performance he ever did. They sound like another pianist, one with much less concern about control. Haven't heard the Hofmann.

With you all the way...

[George]

With you all the way...

(As TOTO plays in his head) Now only if Brilliant classics would get on board... 

[Mandryka]

For reference -- maybe someone could change the title of the thread to "Maria Yudina"

THE YUDINA LEGACY VOLUME I
Well-Tempered Clavichord, Volume One. Live
4. X. 1950, Small Hall of Moscow Conservatoire
(excerpts)
1. C-dur 10. F-dur
2. c-moll 11. f-moll
3. Cis-dur 12. As-dur (Fugue),
4. cis-moll gis-moll
5. D-dur 13. A-dur (Prelude),
6. d-moll a-moll (volume II)
7. es-moll 14. B-dur
8. E-dur 15. b-moll
9. e-moll 16. h-moll (Prelude)
THE YUDINA LEGACY VOLUME II
Well-Tempered Clavichord, Volume Two. Live
4. XI. 1950, Small Hall of Moscow Conservatoire
(excerpts)
1. C-dur 9. e-moll
2. c-moll 10. f-moll
3. Cis-dur 11. fis-moll
4. cis-moll 12. G-dur
5. D-dur 13. g-moll
6. d-moll 14. gis-moll
7. dis-moll (end of fugue is missing)
8. E-dur 15. H-dur
16. h-moll
THE YUDINA LEGACY VOLUME III
Bach Well-Tempered Clavichord Volume I
1. h-moll (Prelude)
2-4. Bach. Concerto no. 1 for Piano and Orchestra
Live October 8, 1956, Grand Hall of the Moscow
Conservatoire
All-Union Radio Symphony Orchestra
Kurt Sanderling, conductor
5-8. Brahms. Quartet no. 2 op. 26 in A major
for piano and strings
Maria Yudina, piano; Dmitri Tsyganov, violin;
Fyodor Druzhinin, viola; Sergei Shirinski, cello.
Recorded in June-November 1968
THE YUDINA LEGACY VOLUME IV
BRAHMS
1.Rhapsody op. 79 no. 2 (1952)
2. Intermezzo op. 116 no. 2 (1968)
3-5. 3 Intermezzi op. 117 (1968 (1, 2), 1952 (3))
6-9. Intermezzi op. 118 nos. 1, 2, 4, 6 (1952 (1), 1968)
10-11. 2 Intermezzis op. 119 nos. 1 & 3 (1968, 1952)
12-38. Variations and Fugue on a Theme
by Handel op. 24 (24.V.1948)
THE YUDINA LEGACY VOLUME V
MOZART
1-3. Concerto no. 23 in A major K. 488
rec. in Moscow in 1943
4-6. Concerto no. 20 in D minor K. 466
rec. in Moscow in 1948
7. Adagio in B minor (1963)
All-Union Radio Symphony Orchestra
Alexander Gauk (1-3), Sergei Gorchakov
(4-6), conductors
THE YUDINA LEGACY VOLUME VI
BEETHOVEN
1-3. Concerto no. 4 For Piano And Orchestra in
G major op. 58
Rec. in Leningrad in 1948
Leningrad Philharmonic
Kurt Sanderling, conductor
4. Choral Fantasy op. 80
recorded in Moscow 1947
All-Union Radio Symphony Orchestra
Sergei Gorchakov, conductor
THE YUDINA LEGACY VOLUME VII
BEETHOVEN
1-3. Sonata no. 5 in C minor op. 10 no. 1
rec. 1952
4-7. Sonata no. 12 in A flat major op. 26
rec. 1958
8-10. Sonata for Violin and Piano op. 30 no. 1
Marina Kozolupova, violin, rec. 1950
11-12. Medtner. 2 Sonatas op. 11 nos. 1 & 3
rec. 1958
THE YUDINA LEGACY VOLUME VIII
BEETHOVEN
1-3. Sonata no. 16 op. 31 no. 1
Recorded in 1951

4-7. Sonata no. 29 op. 106
Recorded in 1951
THE YUDINA LEGACY VOLUME IX
BEETHOVEN
1. Variations on a Russian Theme
2-3. Sonata no. 22 in F major op. 54
Recorded in 1961
4-5. Sonata no. 27 in E minor op. 90
Recorded in 1961
6-9. Sonata no. 28 in A major op. 101
Recorded in 1958
10-11. Sonata no. 32 in C minor op. 111
Recorded in 1958
THE YUDINA LEGACY VOLUME X
SCHUBERT
1-4. Sonata no. 21 in B flat major D. 960
Recorded in Moscow August 8, 1947
5-9. Forellen-Quintet
Recorded live at the Small Hall of the
Moscow Conservatoire, November 1960
Maria Yudina, piano and the Beethoven String
Quartet with Vladimir Khomenko, double bass
THE YUDINA LEGACY VOLUME XI
SCHUBERT
1-4. 4 Impromptus op. 90
5-8. 4 Impromptus op. 142
Recorded in 1964
9. Schubert. Impromptu in A flat major
op. 142 no. 2 (live 1956)
10. Schubert-Liszt. Am Meer (1964)
THE YUDINA LEGACY VOLUME XII
1. Prelude and Fugue in F sharp major (WTC II)
2. Bach, Prelude and Fugue in G sharp minor (WTC II)
Recorded in 1956
3. Bach, Chromatic Fantasy and Fugue (1948)
4. Bach-Liszt. Organ Prelude and Fugue in A minor
(1948)
5. Liszt. Variations on a Theme by Bach (27.III. 1950)
6. Glazunov. Prelude and Fugue in D minor (1951)
9. Mussorgski-Kamenski. 3 Pieces from
Boris Godunov:1.Yurodivyi 2. Bells 3. Glory
(Summer 1967)
THE YUDINA LEGACY VOLUME XIII
1-3. Haydn. Sonata no. 52 in E flat major
(recorded in 1950)
4. Mozart. Adagio in B minor (1963)
5. Mozart. Rondo in A minor K. 511 (1963)
6-8. Mozart. Sonata no. 15 in F major (1963)

THE YUDINA LEGACY VOLUME XIV
1-7. Schumann. Phantasiestucke op. 12
(recorded in 1951-1952)
8-9. Debussy, Sonata for Cello and Piano
Natalia Shakhovskaya, cello (rec. 1961)
10. Szymanowski. Variations in B flat minor (rec. 1956)
Szymanowski. Preludes op. 2 (rec. 1956)
11-19. Szymanowski. Preludes op. 2 (rec. 1956)
20. Martinu. Fifth day of the Fifth Moon (rec. 1961)
21. Martinu. Booksellers on Malace Quay (rec. 1961)

THE YUDINA LEGACY VOLUME XV
1-20. Prokofiev. Visions Fugitives op. 22
Recorded in December 1953
21-23. Shostakovich. Sonata no. 2 op. 63
Recorded in 1960
24-27. Stravinsky. Concerto for Piano and Winds
All-Union Radio Symphony Orchestra
Gennady Rozhdestvensky, conductor
Recorded in 1962

THE YUDINA LEGACY VOLUME XVI

1-15. Mussorgsky. Pictures at an Exhibition
Recorded in summer 1967
16. Prokofiev. A Thing In Itself op. 45a
Recorded in 1965
17-19. Shostakovich. Sonata no. 2 op. 64
Recorded in 1960

THE YUDINA LEGACY VOLUME XVII
1. A. Berg. Sonata op.1 (Summer 1964)
2-5. A. Jolivet. Four Pieces from the Cycle Mana
(Summer 1964)
6-13. Bartok. From Mikrokosmos (rec. 1964)
14-16. Mussorgsky. From Children's recollections
(rec. 1949): Duma (Reverie), Meditation (Album Leaf),
Une Larme (A tear)
17. Mussorgsky. Scherzo (rec. 1950)
18-27. Scriabin. 10 Preludes op. 11 (nos. 2, 4, 5, 9, 10,
13, 15, 16, 17 & 22)(rec. in 1952, Scriabin Museum,
Moscow)
THE YUDINA LEGACY VOLUME XVIII
1-3. Stravinsky. Sonata, 1924 (rec. in XI. 1961)
4-7. Stravinsky. Serenada in A (rec. in XI. 1961)
8-12. Hindemith. Sonata for Two Pianos
(with Marina Drozdova) (rec. in 1965)
13-16. Hindemith. Sonata no. 3 in B flat major
(rec. in 1960)
17-19. Krenek. Sonata no. 2 (recorded in 1961)

THE YUDINA LEGACY VOLUME XIX
MOZART RECITAL at the Small Hall of
Moscow Conservatoire, October 6, 1951
1. Fantasy in C minor K. 475
2-4. Sonata in C minor K.
5-7.Sonata in A major K. 331
8-10. Sonata in A minor K.
11. Fantasy in D minor K. 397

THE YUDINA LEGACY VOLUME XX
Solo recital at the Column Hall of Trade Unions
Moscow, October 20, 1954
1-2. Beethoven, Sonata no. 32 op. 111
3-7. Brahms, Sonata no. 3
8. Bach-Liszt. Organ Prelude and Fugue in A minor
9. Bach. Adagio from Italian Concerto
10. Brahms. Valse in A flat major
11. Prokofiev. Juliet as Young Girl (from 10 Pieces
from the ballet Rome and Juliet)

THE YUDINA LEGACY VOLUME XXI
Solo recital at the Grand Hall of the Kiev
Philharmony, April 4, 1954 (1st section)
1. Beethoven. 32 variations
2-4. Beethoven. Sonata no. 14
5-7. Beethoven. Sonata no. 17
8. Bach-Liszt. Organ prelude and Fugue in A minor
9-12. Prokofiev. 4 Visions Fugitives op. 22
(nos. 1, 5, 15 & 16)
13. Schubert-Liszt. Am Meer

THE YUDINA LEGACY VOLUME XXII
Solo recital at the Grand Hall of Kiev
Philharmony, April 4, 1954 (2nd section)
1-4. Schubert. Sonata no. 21 in B flat major
5-7. Borodin. From La Petite Suite:
At the Monastery, Dreams, Serenade
8. Schubert. Moment musicaux in F minor
9. Mozart- Saltykov. Lacrimosa from Requiem
10. Mussorgsky. Old Castle (from Pictures
at an Exhibition)

THE YUDINA LEGACY VOLUME XXIII
1-3. Tchaikovsky. Concerto no. 1
Kiev Philharmonic, Nathan Rachlin.
Conductor, live 1954 from the Kiev Philharmony
(first release)
4. Yuri Kochurov. Adagio, (rec. 1956?)
(first release)
5. Scriabin. 10 Preludes op. 11(rec. 1952)
(with two versions of Prelude no. 15)

THE YUDINA LEGACY VOLUME XXIV
TANEYEV
1-3. Quartet for Piano and Strings op. 20
Recorded in 1952
4-7. Quintet for Piano and Strings op. 30
Recorded in December 1958
Maria Yudina, piano and the members of the
Beethoven String Quartet (Dmitri Tsyganov,
Vassily Shirinsky, Vadim Borisovsky,
Sergei Shirinsky)

THE YUDINA LEGACY VOLUME XXV
1. Honegger. Sonata for Viola and Piano (1920)
1.Andante. Vivace 2. Allegretto moderato
3. Allegro non troppo (16'09")
Fedor Druzhinin, viola; Maria Yudina, piano
(rec. April-May 1959)
2. Hindemith. Sonata for Viola and Piano op. 11
no. 4
1.Fantasie. Ruhig 2. Thema mit Variationen. Ruhigund einfach
wie ein Volkslied (8'16") 3. Finale (mit Variationen)
Sehr lebhaft(8'44")
Fedor Druzhinin, viola; Maria Yudina, piano
(rec. April-May 1959)
3. Prokofiev, Sonata for cello and Piano
Lev Evgrafov, cello; Maria Yudina, piano (rec. 1966)

THE YUDINA LEGACY VOLUME XXVI

1-3. Bartok. Sonata For Two Pianos and Percussion
1. Assai lento 2. Lento ma non troppo
3. Allegro non troppo
(rec. 1962)
4-6. Stravinsky. Concerto For Two Pianos
1. Con moto 2. Nocturne. Adagietto
3. Four Variations/ Prelude and Fugue
(rec. 1962)
Maria Yudina, Victor Derevyanko, piano
Ruslan Nikulin, Valentin Snegirev, percussion

THE YUDINA LEGACY VOLUME XXVII
Hindemith. Sonata for Clarinet and Piano
Berg. Four Pieces for clarinet and piano
Bartok. Trio contrasts
Poulenc. Sonata for Clarinet and Piano
Honegger. Sonatina for clarinet and piano.
Lev Mikhailov, Maria Yudina

THE YUDINA LEGACY VOLUME XXVIII
Bach Fourteen Preludes and Fugues from WTC II
(1953-1957 studio recordings)

THE YUDINA LEGACY VOLUME XXIX
1. Mozart. Sonata in A major K. 331 rec. 1963
2. Hindemith. Sonata for Viola and Piano LIVE May 5, 1959
With Fedor DruzhiniN
3. Beethoven. Concerto no.5 Emperor.
Live 1950.

[Mandryka]

Maria Yudina documentary, with English subtitles

http://www.youtube.com/v/zF03KVIsrns