Gennady Banshchikov (b. 1943) is one of the most prominent composers of our days. His creative work's versatility is evident: among his compositions there are three symphonies, three operas, six cantatas, three ballets, five piano sonatas, many chamber compositions, music to performances and films.
The Sonata No. 4 vanquishes one by the unaffectedness and exquisiteness at once. Three Sonata's movements expose three imaginative spheres: the first movement reconstructs some languorous and refined atmosphere of a salon, the second movement is some fanciful round dance, the third movement, being mostly dynamical in the Sonata, embodies the idea of motor-like finale. The Sonata is marked by its form in whole. The author doesn't aspire either to the material's intensive development or to uniting heterogeneous thematism inside one movement. The contrast (but not the conflict) is discovered while the movements are compared.
The Sonata may be suggested to be performed both by the prof essional pianists and by the students of the last years studying in conservatoires.