2 BALLADS

"Here are a couple of contemporary guitar compositions by the Russian guitarist Mikhail Sytchev, a composer I have had admiration for in the past having played through several of his other works. The first ballad is in D minor and after a very heavily despondent-sounding introductory section the piece gets into full swing with some rapid arpeggio segments at double the previous speed. The form of the work is sectioned into various segments played at different tempt, almost, but not quite, like theme and variation form. The following ballad in D major takes on a similar style but has a more memorable melody line to latch on to. [...] I can see a market for these for anyone of Intermediate grade seeking new, contemporary guitar music."

Steve Marsh
(Classical Guitar Magazine)


SCENES FROM A SILENT FILM

"Having seen a good number of works from this fine composer I was eager to see this latest book and it does not disappoint. Set in five movements it takes its basis from the style of music which might accompany Charlie Chaplin during his silent films. So you get Little Tramp; marked 'Giocoso' with its almost Latin feel, which has a general air of absurdity in some of its musical elements, and widely changing moods. It is followed by A Charming Young Lady which is a deliberately over-emotive little piece in 6/8 that wears its heart firmly on its sleeve. A Narrow Escape from the Law is third and begins with strummed diminished chords, just like in the old films! This piece dives around with much abandon, and is a great deal of fun, whilst not being easy either. Meeting her Again, Proclamation of Love is the rather unwieldy titled fourth movement and takes the form of a tango that definitely doesn't take itself too seriously; whilst the final She Says 'Yes', is a comic scherzo beginning with a whole pack of augmented fourths running up and down the fingerboard, before becoming a mock serious waltz, which has the knack of ending its melodic phrase on a deliberately wrong final note. This would delight an audience. The music is warm and friendly and with enough comic elements in it to be almost visual in appeal. It is of moderate difficulty but lies so well under the fingers that it is a little easier to play than it looks at times. This is a super piece of writing from this composer. Do give it a try."

Chris Dumigan
(Classical Guitar Magazine)


FOUR WALTZES

Music steeped in mystery & unpredictable harmonies

"In my opinion, the Moscow-born player / composer Mikhail Sytchev (b. 1971) has never written a boring or ordinary note of music. Everything that has come my way has been fabulously bizarre, full of mysterious, nightmarish, and, often, strangely harmonized music that is always tonal, but in a style all his own. If it ever reminds me of anything, it might be a little in the style of Nikita Koshkin's Usher Waltz and also a bit of Prokofiev's inclination to seemingly put the 'wrong' harmonies with the notes. This set of four waltzes is large, with each having considerable length, and none being a straight waltz-not a predictable harmony can be seen anywhere here. The first is "Rendez-vous," but this is not a light-hearted love tryst with a hauntingly sad waltz tune you might expect from the title, but something else entirely. The mysterious opening leads to a theme that is deceptively romantic, but doesn't last long. Soon, the oddly placed "wrong" notes make themselves known, and it becomes clear that this rendezvous is not a pleasant experience for at least one of the people involved. The writing constantly evolves, and there's scarcely a chance to rest before the piece is racing off elsewhere. A quiet set of harmonics bring the piece to an uneasy close. "Gnome," a scherzo, has a repetitive idea as the basis for its first theme, which adds to its bizarre, but tonal, music world. Replete with sudden sforzandi and glissandi, it again inhabits a strange, Tolkien-like universe where the unexpected is the norm. Once again, it seems to be closing on a quiet idea, before a final slam really finishes the piece off. "Fantasia" is even faster a presto-and is possibly the hardest to play of the four, although at these speeds and with these nearly virtuosic ideas, none of them are easy. There are elements of pizzicato alternating with normal tones, and lots of chasing up and down the strings to the point where there's almost no room for thought. A deceptively slower paced section with romantic overtones doesn't stay very long, and the opening theme returns to close it. The final "Paris" is vivo, with meno mosso contrasting portions in the middle. Again, Sytchev's vision of Paris is not the romantic one we might assume, but one where the night life has many hidden secrets and dark goings-on. There are numerous contrasting sections in this final waltz, as with the other three, and a coda that seemingly finishes in the wrong key; no obvious ending here! The difficulty factor in this wonderful and bizarre set is high, but these pieces are all fabulously entertaining. This is one of the best publications I have seen in the past year, and I will be returning to it time and again. This would be great in concert, and I hope some talented players take it up."

Chris Dumigan
(Classical Guitar Magazine)


6SMS's

"This Russian guitarist/composer has written a number of really clever and tuneful pieces. This latest batch of six, all have titles concerning the sort of thing you might 'text' to someone. The opener Merry Christmas is a 3/4 allegretto in C, but unlike many other pieces in C that lesser composers might write, this is most definitely not a three-chord trick. By bar 3 you have introduced Bb into the harmonies, followed by an excursion into D minor, via a C# in bar 4. None of this sounds forced; it all fits perfectly naturally into the piece. It then proceeds to travel through Bb via Eb, then Ab via Db and finally F# via B, all in the space of six bars; effortlessly inventive and delightful too. Bon Voyage introduces a chore style of rhythm, and thus it sounds very Latin, having plenty of swift moving chords. I Am Sorry is another highlight; it is marked dolente, and has a very emotive little melody with imaginative harmonies. It's Very Funny! is a scherzando with swing rhythm and a jazz/ragtime sort of feel that makes it loads of fun, whilst the six different percussive elements make it a bit difficult at first to get to grips with. The final Good Night saves the best to the last. This is the sort of piece that in the days of cabaret shows on TV the headline artist, be he a pianist or a guitarist or whatever, would say 'good night' with this as his trademark last piece, and you would be quite wrong if that makes you think it would be a second rate item. It is immediate and has a winning set of harmonies and a tune destined to leave an audience feeling suitably warm and fuzzy. These are lovely pieces that have plenty of contrast, show a brisk melodic imagination and a fine eye and ear for clever passagework and slightly off kilter harmonic combinations. Nothing is beyond a modest player who has full command of the fingerboard and this really is a book you should have a look out for."

Chris Dumigan
(Classical Guitar Magazine)


Impromptu

Sytchev's guitar music has come my way several times before, and it is always a pleasure. His harmonic language often uses that typically Russian' way, where, almost like some of Prokofiev's music, what is considered to be the wrong harmonies are placed on a note, to create maximum, shock effect. This latest piece is also delightfully unexpected in much of its writing and as a true 'impromptu' should it flits around in a disarming manner, pausing here; suddenly flying speedily elsewhere and generally never stopping too long in the same musical place. It is a very engaging piece with great imagination in its writing and lovely touches that would delight an audience, when in the hands of the right player. It does use the entire fingerboard, however, and is not easy to bring off without a good deal of care and a lot of élan in the many swoops and glissandi and other humorous elements but that should not put off the moderately advanced player, as this is so much fun and a wonderful piece to get your fingers round.

Chris Dumigan
(Classical Guitar Magazine)


Suite for Solo Guitar

This is a little suite in five short movements, beginning with a Gavotte; Prokofiev's Classical Symphony came to mind a little here, as it has that peculiar trait of a pleasant melody with harmonies that are entirely harmonious but utterly unexpected when relating to the key, so that one finds oneself landing on a chord that wasn't at all on the cards, yet one somehow ends up back in the home key at the end of it all. The March is a scherzando with a sliding, lolloping gait against a plodding bass line. Again there is lots of humour in here and it is plenty of fun to play. A Waltz follows with a pleasant lilt to it and then a Lullaby; based on a Russian melody that is a largo cantabile, with a beautiful melody atop some warm chords. The final Galop's main feature is a sloping run on five notes and a general tendency for humorous dissonance as in the opening Gavotte. The whole suite is plenty of fun, not too hard to play and immediately catchy and involving and certainly a good purchase for anyone whole likes a fun piece to play that doesn't take too much preparation and yet is all over in about 10 minutes. Nice.

Chris Dumigan
(Classical Guitar Magazine)


Rondo

Several issues ago, I reviewed a composition by the composer entitled “Farewell,” and hoped that there wasn’t some sort of none too-hidden message being communicated. Fortunately for all of us, it appears that Sytchev is still very much among us, and this Rondo is his most recent offering. This is a composition in which the notated rests really have to be strictly observed, a fact often not completely honored by guitarists. The texture is two-voice writing for the most part, with occasional denser chords used to make an emphasis. The melodic line spends some time dwelling in the upper parts of the fretboard, so it is imperative that the player can read fifteenth-, sixteenth-, seventeenth-fret notations clearly. Highly recommended for the Grade 3-4 player.

David Norton
(Soundboard)

This is a little piece with more than a hint of malicious humour in it. The opening theme rocks in thirds around an open top E, deliberately clashing constantly with it. so that the key is obscured. Then repeated with extra bass notes, it lands momentarily on an A, only to go straight off again for two more bars and land on a D. This also proves to be fleeting as a new idea lurches around in wildly different keys for eight bars only to hit a cadence in D. The use of wrong notes atop common chords is a feature of this piece, so there are no atonal bits, just unusual juxtapositions of harmonies. A new idea emerges in G only to be met with an array of seventh chords that slip and slide around, that cause the next part to begin in F# major, although this too is but momentary, as yet another theme based around the top end of the guitar enters in E major. This stays around for quite a while, until ending on a harmonic E, over which the initial theme re-emerges unchanged. This in, turn leads to one more new theme which after a while again as it quotes a theme from it, but no it is all a bluff. Off goes the new theme again only this time to land on a harmonic E. So, is this the return to the first theme, like before? Yes, it is, and we get the opening theme one more time closing as before on a cadence in D, and the piece is all over. If you like your music to be wickedly humorous and you are a decent player, for this piece is not too easy, but not devastatingly hard either, then you will probably love this little item; lots of fun.

Chris Dumigan
(Classical Guitar Magazine)


Nocturnes

As to be expected from a publication simply titled Nocturnes these three pieces are permeated in atmosphere, mystery and drama. Presented in the order of E minor, B minor and A minor the first and third ones follow a similar path where the beginnings have an almost elegiac quality before a more robust and agitated middle section arises and then conclude with a recap of the original thematic materiaL The middle Nocturne goes against this style being in a binary form with once again a lengthy melancholy opening but this time ending with a brief presto section. All three are of an attractive nature and in particular the opening parts are very moody and mysterious and with very little imagination conjure up a 'night' atmosphere. This publication would be ideal for student of around Intermediate + standard.

Steve Marsh
(Classical Guitar Magazine)


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)