Vision Dances CD Review

Listening of this program of original works by Mikhail Sytchev one hears the influence of Nikita Koshkin in much of this writings. The pieces are packed with drama, humor, aggression, passion and impressionism and without exception, are all very well composed and interesting. Particularly entertaining are the five descriptive scenes for children, which with the graphic titles such as Pony Step, Acrobats, Sorceress, Harlequin and Troubadour's Song create engaging musical imagery. Throughout, Sytchev plays with extraordinary flair and musicality and this recording certainly whets the appetite for hearing more of this very good composer / guitarist.

Steve Marsh
(Classical Guitar Magazine)


Aquarelles
Les Productions d'Oz DZ944

Aquarelles is in three sections, the first one, titled In the Garden is a tranquil and melodic little waltz which saunters along nicely until a totally unexpected ending is reached where the rhythm and tempo quite dramatically alter. The following Spirit of the Dance is another gentle and melodic composition the main feature of which is the constant drone of the low f note at the start of each bar. The concluding After the Rain illustrates how a skilled writer for the guitar can write economically (a good deal of this piece hangs around first position, as did the previous one) and still produce a good end product worthy of note. This is nice music, well written, well presented and any player of around Grade 6 standard should perhaps check it out.

Steve Marsh
(Classical Guitar Magazine)


Five Scenes for Children's Home Theatre
Les Productions d'Oz DZ949

The Russian guitarist/composer Mikhail Sytchev wrote these extraordinary pieces in 2003; they were inspired by memories of his up bringing where, at family gatherings on New Year's Eve, the children would dress up and perform spontaneous sketches based on fairy tales and cartoons - hence the "Children's Home Theatre" part of the title. Each movement is titled and this certainly helps with the interpretation and visualisation when hearing the music. The sure-fire hit of the bunch must unquestionably be the second scene, titled Acrobats this imagery is what is conjured up when the music is played - a really good example of imaginative writing; beware though, the tempo indication of Allegro is overlooked by the composer himself, his version is more Prestissimo and this is a composition wchich really does need speed to make it credible. Following this comes the dark and mysterious Sorceress, made even more sinister by the very fact that it does come next. These Five Scenes are very entertaining and absorbing; the suite is a stirring work, with here and there, suggestions of the musical style of Koshkin and well worthy of consideration for the concert platform. The rather creepy caricature figurine on the front cover, and the fact that the word "children" is in the title, could be a little misleading if this edition was spotted on the shelves in any music shop, this music is by no means an easy ride and should only be attempted by high grade players.

Steve Marsh
(Classical Guitar Magazine)


COMEDIANS for 3 guitars
Les Productions d'Oz DZ1271

This is a substantial work from this Moscow-born composer, with 425 bars of music over 24 tightly-knit pages. The music has a glossary of terms at the front, relating to various percussive elements and the suchlike that are built into the body of the piece but they are all very user-friendly so don't let that put you off. From the start you know that the music has been written to be enjoyed, with a high degree of entertainment factor built in. So you immediately are made aware of the circus element: the semitonal runs with suitably amusing harmonies, an inherent part of it all. The work starts with a number of glissandi of angular pairs of notes, to highlight the comedy factor. Then the semiquaver runs arrive in all three parts, followed by a galumphing “um-ching” bass-chords rhythm, just in case you were in any doubt. There are great deals of chromatic harmonies throughout but they are purely there to enhance the comedic element. Technically this is not easy music to play and your trio should be well prepared to fly all over the place on the fingerboard. The glissandi recur and everything dies down momentarily onto the top guitar reiterating B quavers against A crotchets, under which the other two players perform a sort of stop-go-pizzicato-quaver idea full of sudden accents, pauses that is almost visual in its ideas. Then the first idea returns, placed differently of course on the guitars (giving everybody a chance at all the sections), until the quiet passage again follows on, again slightly altered but obviously built from the same ideas. Now a number of the percussive elements enter, leading in turn to a new andante section, that swiftly becomes a brief animato, and then a meno mosso, all in the space of a few bars, until a real momentary pause leads to a new 2/4 - 3/4 Allegro idea that continues for several pages. A moderato built on more of the amusing elements then takes over, full of glissandi and deliberately off-key notes. This in turn leads to a sort of alarming samba idea that tries to sound serious but fails miserably to do so. A brief largo heralds a return to the opening tempo and a suitably uproarious finish. This is a wonderful piece of clever writing that a seasoned trio really ought to get their fingers on. It would really enhance and compliment an otherwise serious recital and I feel that audiences would love It. Great stuff.

Chris Dumigan
(Classical Guitar Magazine)


SEVEN NON-CLASSICAL PIECES for solo guitar
Les Productions d'Oz DZ1359CD

Having reviewed one recording and several of this guitarist’s published works previously I was looking forward to playing through this album of seven new compositions aimed towards the Intermediate guitar player and I wasn’t disappointed in the least. They are written with the same conviction, musical and rhythmic interest and diversity as beforehand. The album is all well presented with clearly printed score and attractive front cover. Throughout, no fingering is given which should help develop student’s ability to read around the fingerboard. A very enjoyable new production.

Steve Marsh
(Classical Guitar Magazine)