Dances (Natalia Khoma & Volodymyr Vynnytsky)

Dances (Natalia Khoma & Volodymyr Vynnytsky)

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01           Gaspar Cassado     Requiebros     05:05
02           Enrique Granados     Intermezzo from "Goyescas"     04:51
03           Volodymyr Vynnytsky     Lost Tango     06:55
04           Johannes Brahms     Hungarian Dance No. 1 in G Minor     03:55
05           Johannes Brahms     Hungarian Dance No. 2 in A Minor     04:03
06           Frederic Chopin     Polonaise brillante in C Major, Op. 3     10:15
            Bela Bartok     Roumanian Folk Dances      
07                 Joc Cu Bata     01:27
08                 Braul     00:39
09                 Pe Loc     01:27
10                 Bucimeana     01:07
11                 Poarc Romaneasc     00:33
12                 Mruncel     01:01
            Manuel de Falla     Suite Populaire Espagnole      
13                 El Pano Moruno     02:21
14                 Nana     02:25
15                 Cancion     01:29
16                 Polo     01:20
17                 Asturiana     02:53
18                 Jota     03:45
19         Manuel de Falla     Danse rituelle du feu (Ritual Fire Dance) from El mor brujo


Natalia Khoma is solid of technique and tone, the latter of which she is quite adept at modulating to suit the mood and style of each individual piece. Volodymyr Vynnytsky, in addition to being a technically secure, bold, and characterful pianist, gives evidence of being a very talented composer. His Lost Tango is surely the most interesting and, for me, the most appealing item on the disc. Fanfare Magazine

Here's a program of miscellaneous cello music with a concept that works! All of the pieces have dance associations, yet there is such variety of treatment by the composers that nothing seems predictable yet everything seems enthusiastic. 
The program begins and ends with a Spanish flavor. In the middle we move gradually over to Eastern Europe by way of a curious tango written by the pianist. Maybe it's the influence of his name, but this work, with its curious dissonances and rough rhythms, seems to blend the idioms, preparing us for a sojourn with Brahms, Chopin, and Bartok. And if you've had enough footwork for the nonce, Chopin's Polonaise begins with a long lyrical introduction, just to get you acclimatized. They play the original version of the Chopin, by the way, not the modern arrangement with the cello trying to outdo the piano in virtuosity. 
Altogether, this is satisfying programming combined with fine playing, clean technique combined with warmth of feeling. American Record Guide