Schubert by Candlelight – Live in Madrid Sergei Kvitko

• Franz Schubert (1797 - 1828): 6 Moments musicaux Op. 94, D. 780:
• 1Schubert: 6 Moments musicaux Op. 94, D. 780: I. Moderato in C Major (Live)08:02
• 2Schubert: 6 Moments musicaux Op. 94, D. 780: II. Andantino in A-Flat Major (Live)06:41
• 3Schubert: 6 Moments musicaux Op. 94, D. 780: III. Allegro moderato in F Minor (Live)01:50
• 4Schubert: 6 Moments musicaux Op. 94, D. 780: IV. Moderato in C-Sharp Minor (Live)05:04
• 5Schubert: 6 Moments musicaux Op. 94, D. 780: V. Allegro vivace in F Minor (Live)02:07
• 6Schubert: 6 Moments musicaux Op. 94, D. 780: VI. Allegretto in A-Flat Major (Live)08:23
• 4 Impromptus Op. 90, D. 899:
• 7Schubert: 4 Impromptus Op. 90, D. 899: I. Allegro molto moderato in C Minor (Live)10:29
• 8Schubert: 4 Impromptus Op. 90, D. 899: II. Allegro in E-Flat Major (Live)05:01
• 9Schubert: 4 Impromptus Op. 90, D. 899: III. Andante in G-Flat Major (Live)06:00
• 10Schubert: 4 Impromptus Op. 90, D. 899: IV. Allegretto in A-Flat Major (Live)08:18
• Two Scherzos, D. 593:
• 11Schubert: Two Scherzos, D. 593: No. 1, Allegretto in B-Flat Major (Live)04:23
• 12Schubert: Two Scherzos, D. 593: No. 2, Allegro Moderato in D-Flat Major (Live)04:41
• Minuet in C-Sharp Minor, D. 593 (Live):
• 13Schubert: Minuet in C-Sharp Minor, D. 593 (Live)02:47
• Total Runtime01:13:46

Info for Schubert by Candlelight – Live in Madrid

Pianist, composer, and producer Sergei Kvitko’s new album, Schubert by Candlelight — Live in Madrid, is a stunning collection of Schubert’s piano works. The album features thirteen piano works that showcase the beauty and depth of Schubert’s music, as well as the artistry and versatility of Kvitko, who is not only an award­-winning, critically acclaimed pianist, but also a composer, arranger, and internationally sought­-after producer and sound engineer. The album was recorded at Hinves Pianos, Madrid, Spain on April 7, 2022. It was performed, produced, and engineered by Sergei Kvitko, assisted at the session by audio engineer Jorge Núñez Colell.

The works on this program include the 6 Moments Musicaux (Op. 94 (D. 780)), composed between 1823 and 1827, which are snapshots in time and lyric inspiration, almost improvisational and whimsical yet serious. They show, in a condensed way, the many sides of Schubert’s lyric and melodic style. The 4 Impromptus (Op. 90 (D. 899)), composed in 1827, are masterpieces of thematic integration and elaboration–each Impromptu different from the next. They are unquestionably among the loveliest and most thoroughly characteristic of his short instrumental works. The program continues with the 2 Scherzi (D. 593), composed in 1817, which are happy and dance­like. Concluding the program is a somewhat unusual Minuet in C-­sharp minor (D. 600), composed in 1814, which is a miniature masterpiece in slower tempo and full of elegance.

This recital reminds us that Schubert’s music is imbued entirely by the beauty and sweetness of the melody yet is intensely spontaneous and unplanned. Writing in his diary, Schubert stated: “Imagination—Man’s greatest treasure, the inexhaustible spring at which we all refresh ourselves—be with us, even if few respect and honor you. You alone can save us from so­called “enlightenment,” that hideous skeleton without flesh and blood.” Robert Schumann, writing in his diary, contemplates “And you, heavenly Schubert who left this world too soon—if ghosts and spirits and geniuses spoke to each other, they would speak like you; you are the celestial flowing spirit covered by its spring flowers.”

Recorded in front of a live audience under the gentle glow of candlelight, the album captures the intimate and expressive atmosphere of the concert, as well as the brilliant and nuanced playing of Kvitko, who has been praised for his “natural, appealing musicality and sensual understanding of piano tone” (The Chronicle­-Herald).

Sergei Kvitko, piano

Sergei Kvitko
Kvitko’s career is as diverse as it is successful. As a pianist, Mr. Kvitko has captured the attention of music critics with his “polished pianism… glorious Horowitzian three‐dimensional perspective” (Gramophone Magazine), “masterful, intuitive playing… arresting artistry… an iconoclastic sense for rubato rhythm and phrasing” (Fanfare Magazine), and has been praised for his “luminous touch… warm, round sound… plenty of brilliance” as well as “a natural, appealing musicality and sensual understanding of piano tone” (The Chronicle‐Herald). American Record Guide placed his recording of Mussorgsky’s Pictures at an Exhibition “among the best ever made” and included it on its coveted Critics’ Choice List. His critically acclaimed 2021 album “Mozart. Post Scriptum” with Madrid Soloists Chamber Orchestra was praised as “an absolute explosion of creativity for Mr. Kvitko” (EarRelevant, Atlanta). In 2013, Mr. Kvitko made his New York City debut with a solo recital at Carnegie Hall that “was met with rousing applause, bravos, and a standing ovation” (New York Concert Review). He made solo, chamber and orchestral appearances in the United States, Canada, Ireland, Spain, Italy, Switzerland, Austria, Russia, Ukraine, Kazakhstan and Uzbekistan.

As a composer, he gathered multiple awards for his incidental music for the production of Steven Dietz’s play “Dracula.” Lawrence Cosentino of City Pulse wrote: “Kvitko wove a borderline insane level of care and sophistication into every bar of his score even when you can barely hear it,” and Fanfare Magazine called it “a well‐conceived, executed, and imaginative score… entertaining, powerful, witty.” Other compositions include incidental music for Tennessee Williams’ play “The Glass Menagerie” as well as many transcriptions and arrangements. His cadenzas for Mozart’s Concerto in D Minor were called “spectacular, to say the least” (Pizzicato Magazine, Germany).

What makes Kvitko’s career truly unique, is that his artistic accomplishments are balanced by his reputation as an internationally sought‐after classical recording engineer and producer of the highest caliber, declared by Fanfare Magazine as “one of the best in the business,” and dubbed “recording wizard” by New York Concert Review. Gramophone Magazine stated that “as engineer, he makes magic,” while American Record Guide praised his work as a ”consistent stream of exceptionally enjoyable recordings.” He is a Latin Grammy‐nominated producer in Best Classical Album category. His recording of Carter Pann’s piece Mechanics was a finalist for Pulitzer Prize in Music. Albums produced and engineered by Sergei Kvitko have been favorably reviewed by national and international publications such as Fanfare Magazine, BBC Music, Flute World, Clarinet Magazine, Clavier, Percussion and Strings Magazine among many others, earning praises such as “superbly well recorded” (International Record Guide, UK), “vividly detailed, vibrant sonics” (Gramophone, UK), “beautifully balanced and warmly atmospheric” (Gramophone, UK), “the recording is close to ideal—rich, but clear, truthful and immediate” (American Record Guide), “larger‐than‐life recording that sounds fabulous at virtually any volume level” (Strings Magazine), “warm and immediate sound” (The Strad).

Sergei Kvitko was born in Russia and began studying music at the age of six. After receiving the highest musical education there, he came to the United States to pursue a Doctor of Musical Arts degree at Michigan State University, where he studied with Ralph Votapek. He is a voting member of the National Academy of Recording Arts and Sciences (GRAMMY®).

Booklet for Schubert by Candlelight – Live in Madrid