Monthly Archive: July 2017
Streams and Podcasts for 29 July 2017
This week, The Music Treasury will host violinist Benjamin Beilman, as their in-house guest. Bellman is a bright rising star among the current constellation of young violinists, with impressive and varied accomplishments—premiering many new works, traditional concerti, solo recitals… receiving recognition and praise throughout Europe, as well as Japan, Canada, and the United States. The show can be heard on Sunday, 30 July 2017, between 19:00 and 21:00, PDT. Dr. Lemco is the show’s host, it is presented as a radio show with streaming broadcast: kzsulive.stanford.edu
Poetics — Elgar, Listening
Audiophile Audition recognizes and embraces the various art forms around music; this poem is presented in that spirit. Elgar, Listening In 1923, at the age of sixty-six, The Enigma Variations composer, Edward Elgar, took a voyage to Brazil, journeying up the Amazon to Manaus. Almost nothing is known of his trip. He leans over the steamship stern, captivated by passing trogons, howler monkeys, butterflies waving like ladies’ scarves. Behind him, his work dissipates in the boat’s wake, swirling into eddies. Heedless of any baton, fish plash the river’s surface, a seedpod plunges like a struck drum, insects hum, sailors curse and call, basso profondo, while a woman laughs in the upper registers. He does not know what to make of it, how to carry it back. For sixty-six years, he moved in one direction, towards acclaim, security, only to open its door on an empty room. There, he strained for a theme. Here, he finds too many—the tangle of lianas, humidity, rot, rain pelting the river in sheets. Does he have the courage to return and do nothing, see what germinates, brave his wife’s anxious ghost as he sits before silent staves, ears cocked to the not yet? Fingers tapping the […]
Charl du Plassis Trio, Baroqueswing Vol II – Claves
Charl du Plassis Trio, Baroqueswing Vol II – Claves 5O-1609 (11/21/16) [Distr. by Naxos] ****: Jazz versions of top Baroque and other melodies. This disc was recorded live at the 2015 Festival Muskdorf Ernen in Switzerland. Du Plassis has chosen baroque works by Bach, Gluck, Vivaldi and Handel and ends with a six-movement jazz suit and a closing track of Gershwin’s I Got Rhythm theme. Du Plassis sort of continues the efforts of the ”Play Bach” Jacque Loussier series. He uses the natural swing built into many of these familiar baroque themes, often just by performing them faster. The slow Sarabande of Handel, featured in the film Barry Lyndon, is especially nice. Either a couple of the selections, such as a Prelude & Fugue, have an especially quiet audience, or there are studio tracks mixed in with the live concert. —John Sunier
BACH: Goldberg Variations – Beatrice Rana – Warner Classics
J. S. BACH: Goldberg Variations – Beatrice Rana – Warner Classics 88018, 77:45 (2/24/17) *****: One of the great Goldbergs of our time by a young Italian artist An injunction I made some years ago has been largely ignored: No more recordings of the Goldberg Variations until all of the 555 sonatas of Domenico Scarlatti are recorded on the piano. Perhaps only Yevgeny Sudbin (BIS 2009 & 2016) heeded that call, recording two of the best recitals of the last couple of decades which included new transcriptions of the master’s keyboard works. Meanwhile, pianists and harpsichordists have been unable to resist the temptation of scaling that summit, serene and stormy, known originally as the Aria mit vershiedenen Veranderungen. Here we have Beatrice Rana, a 23-year-old Italian pianist, undertaking this most severe test on her second outing as a recording artist. It seems ill-advised but we will have to trust Warner Classics, which is on quite a roll recently, especially in the piano department. (See the review on these pages of the remarkable David Fray Chopin release.) There is to be no skipping around in the variations; one must start at the beginning and arrive a different person by the end. […]
Eugene YSAŸE: 6 Sonatas for Solo Violin – Sharon Park – MSR Classics
Eugene YSAŸE: 6 Sonatas for Solo Violin – Sharon Park — MSR Classics MS 1631, 66:55—7/29/17, ****: Ysaÿe lived during an interesting period of history (1858-1923). Having witnessed the advances in the first third of the twentieth-century, his music reflects models of the old but in quite modern clothing. Dr. Sharon Park has recorded his six violin sonatas—a crowded field—that were originally modeled after the sonatas and partitas for solo violin by Bach. The title for Park’s recording is apt: Ysaÿe dedicated each one to a contemporary violinist, including Szigeti, Thibuad, Enescu, Kreisler, Crickboom, and Quiroga. Park currently enjoys a career with feet both worlds: she specializes in both chamber music and serves as lead second violinist in an orchestra. Her performance is captured with very ample reverb which worked best for me in my listening room with conventional two-way loudspeakers. Using headphones, I noticed ambient noise that is typically absent from top-shelf productions. But that slight hum was the only blemish in the production that showed polish by Park across all six sonatas. Ysaÿe was a violinist and his sonatas, when written, were state of the art. He employs every practical technique for performance, from extreme ranges of the […]
William Kapell: Three First Releases = RACHMANINOFF: Rhapsody on a Theme of Paganini; PROKOFIEV: Piano Concerto; CHOPIN: Nocturne – William Kapell, piano/ NY Phil./ Artur Rodzinski (Rachmaninoff)/ Philadelphia Orch./ Eugene Ormandy/ Boston Symph. Orch./ Richard Burgin – JSP Records
William Kapell: Live Performances – Three First Releases = RACHMANINOFF: Rhapsody on a Theme of Paganini, Op. 43; PROKOFIEV: Piano Concerto No. 3 in C Major, Op. 26 (2 performances); CHOPIN: Nocturne in E-flat Major, Op. 55, No. 2 – William Kapell, piano/ New York Philharmonic/ Artur Rodzinski (Rachmaninoff)/ Philadelphia Orchestra/ Eugene Ormandy/ Boston Symphony Orchestra/ Richard Burgin – JSP Records JSP684, 79:04(9/1/17) [www.jsprecords.com] *****: JSP Records restores invaluable moments from the most promising of America’s young piano virtuosos, William Kapell. Once more, restoration engineers John H. Haley and Seth B. Winner collaborate to restore rare recordings by America’s first home-spun—he had been trained by Olga Samaroff and Dorothy Lafollette—piano virtuoso, William Kapell (1922-1953), tragically taken from us in a plane crash as his flight approached San Francisco Airport 29 October 1953. A fabulous keyboard technique combined with a volcanic temperament made Kapell a natural exponent of the Romantic tradition he championed; and his exploring, adventurous musicianship had embraced many works in the Classical and Contemporary traditions as well. The Rachmaninoff Rhapsody on a Theme of Paganini (28 October 1945) with Artur Rodzinski represents the only performance that has had prior CD incarnation (on Pearl GEMM CD 9194), here issued […]
KORNGOLD: Violin Concerto; BRITTEN: Violin Concerto – Vilde Frang, violin/ Frankfurt Radio Symphony/ James Gaffgan – Warner Classics
KORNGOLD: Violin Concerto in D Major, Op. 35; BRITTEN: Violin Concerto, Op. 15 – Vilde Frang, violin/ Frankfurt Radio Symphony/ James Gaffgan – Warner Classics 08225646009213, 58:12 (2/26/17) ****: Violinist Frang fulfills her wish to bring two of her favorite concertos together, reflections of the “divisive” era of the 1930s. Youthful but brilliantly gifted violin virtuoso Vilde Frang here approaches two concertos from the late 1930s that bear contrasting aesthetics: the 1937-1939 Korngold Concerto derives from a popular, Hollywood mythos, while that of Benjamin Britten (1936-1937) assumes a more “abstract” quality to fulfill a commission for violinist Antonio Brosa. Each composer had fled Europe at the time, for both personal and political reasons, and each composer sought respite in music in his own way. Erich Korngold (1897-1957) conceived 23 scores for Hollywood movies, and he drew music from three of them, entrusting to Jascha Heifetz the responsibility of a first performance on 15 February 11947 in St. Louis. Along with its punishing vocal tessitura in high registers, the D Major Concerto sizzles with motion and orchestral colors, aided in this respect by xylophone, harp, celesta, and vibraphone. Just as his movie scores like The Adventures of Robin Hood exhibit dash […]
Philip Glass – Piano Works. Víkingur Ólafsson — Deutsche Grammophon
Philip Glass – Piano Works. Víkingur Ólafsson — Deutsche Grammophon 479-6918 (7/28/17) 79:39 ****1/2 The role of “composer” changes over the course of musical history, especially so in the Western tradition. Whether we look at Bach, or Mozart, or Beethoven as the example, those composers were very active performers. What we sometimes think of the composer’s art, putting notes down on manuscript paper, was very much the second act. If we take the piano sonata as an example, what’s composed? The sound coming from the instrument under Mozart’s fingers, or the transcription of those notes arranged on 10 lines of staff paper for notes performed across two hands? I have always thought of Philip Glass, for whom this album was prepared in celebration of his eightieth birthday, as a composer in the style of an old-school musician like a Mozart or Beethoven. His Etudesfor piano—first a collection of ten—then of twenty—were meant for his own performance. In fact, he wrote them to help him improve his technique. Like a Mozart, Glass does compose music, on paper, for other musicians to perform. And Víkingur Ólafsson has risen to the challenge. But in auditioning this release from Deutsche Grammophon, I couldn’t ignore that the Glass Etudes (or […]
“Splitting Adams” = John ADAMS: Chamber Symphony; Son of Chamber Symphony – Alarm Will Sound/Alan Pierson – Cantaloupe Music
“Splitting Adams” = John ADAMS: Chamber Symphony; Son of Chamber Symphony – Alarm Will Sound/Alan Pierson – Cantaloupe Music CA21128 (4/21/17) 76:29 ****: Wonderfully refreshing look at the music of this iconic composer. First, I am almost positive I have all of John Adams’ works that have been recorded as well as some scores and have been a huge fan since hearing his “breakout” work, Harmonium, with the San Francisco Symphony nearly forty years ago. I personally believe that Adams and his music will ‘survive’ the test of time through performance as well as through the critical filter of American music history to be seen as one of our most important composers these past four decades and beyond. Adams’ music is alternately beautiful, captivating and melodious and, then; thorny, complex and occasionally disconcerting. People who think they can immediately identify one of John’s works have either listened to a lot of it or—not. This is why this “podcast album” of both of Adams’ chamber symphonies is so refreshing and valuable. The performances of both of these important works by the always splendid and innovative Alarm Will Sound are amazing, of course. The real bonus here is the extended commentary and discussion […]
Denny Zeitlin & George Marsh – Expedition – Sunnyside Records
Denny Zeitlin & George Marsh – Expedition – Sunnyside Records SSC1487 75:07****: If approached with an open mind, the ingredients of sound make sense ( Denny Zeitlin – acoustic piano/hardware & virtual synthesizers/keyboards; George Marsh – drums & percussion) Denny Zeitlin has never been reluctant to practice his craft outside the nine dots. At the time of his first release entitled Cathexis in 1964, his piano playing was characterized as a hard bop, but Zeitlin did not let this define him. He believed there were yet uncharted avenues to be explored and he set out to search for them. Over the intervening years, Zeitlin has flirted with such things as the prepared piano and electronic keyboards, and while he continues to record and perform on a standard acoustic piano, electro-acoustic interpretations of musical themes have become more prominent in his repetoire. Expedition is a further exploration of this genre that he and George Marsh recorded and released in 2015 under the title Riding The Moment. Denny Zeitlin explains in the liner notes to Expedition, that the music is based on spontaneous free improvisation, and for the most part is recorded in real time. The two principals are separated in the […]
Art Fristoe Trio – Double Down – Merry Lane Records
Art Fristoe Trio – Double Down – Merry Lane Records 700261454191 94:36 [2CDs] ***: A talent that should have broader recognition ( Art Fristoe – piano; Tim Ruiz – bass; Daleton Lee – drums – Disc 1 tracks 4,5; Disc 2 tracks 2,9 ); Richard Cholakian – drums all others; Ilya Janos – percussion – Disc 1 track4; Disc 2 – tracks 2,9) Houston Texas may not immediately come to mind as hot bed a jazz and jazz players. However it has had a number of well-known jazz musicians who have gotten their starts in the city including Joe Sample along with The Crusaders, Hubert Laws and Jason Moran. Pianist Art Fristoe has developed a solid reputation in the area and appears on a regular basis at The Fedora Lounge. If his trio release Double Down is a good representation of his playing, then a broader recognition of his talent is in order. The music chosen for this session is an eclectic mixture of rock, popular, and jazz standards mingled with a number of Fristoe originals. These prove to be clever choices as they provide the trio with the kind of substance that plays to their strengths. Opening with a […]
Beecham at the Royal Festival Hall, Volume 3 = ADDISON: Carte Blanche; BEETHOVEN: Symphony No. 7; GOUNOD: Juliet’s Dream; SAINT-SAENS: Dance of the Priestesses – Royal Phil. Orch. / Sir Thomas Beecham – Pristine
Beecham at the Royal Festival Hall, Volume 3 = ADDISON: Carte Blanche; BEETHOVEN: Symphony No. 7 in A Major, Op. 92; GOUNOD: Juliet’s Dream; SAINT-SAENS: Dance of the Priestesses from Samson et Dalilah, Op. 47 – Royal Philharmonic Orchestra/ Sir Thomas Beecham – Pristine Audio PASC 507, 56:49 [www.pristineclassical.com] ****: The third of the Royal Festival Hall concerts by Sir Thomas Beecham communicates his potent magic in Beethoven and Addison. The third of the series of appearances by Sir Thomas Beecham at Royal Festival Hall (8 November 1959) sets a tone of enthusiastic mirth from the first, with composer John Addison’s most popular classical score, Carte blanche, conceived for Sadler’s Wells. Addison (1920-1998) gleaned considerable note for his diverse film music, including such main-stream classics as Tom Jones, Torn Curtain, and A Bridge Too Far. Addison’s interest in theater and ballet scores often led him to conceive music for chamber ensembles, but Carte blanche enjoys a vivacious, blustery score, rife with percussive effects and brilliant riffs for individual wind and brass instruments, some of whose blaring and honking lead to resonant guffaws from the Royal Festival Hall audience. The five-movement suite includes two slower, more romantic sections, “Interlude” and “Romanza,” […]
Harris Eisenstadt – Recent Developments – Songlines
Harris Eisenstadt – Recent Developments [TrackList follows] – Songlines SGL 1620-1, 41:07 [3/10/17] ****: On his latest outing, drummer Harris Eisenstadt once again defies easy categorization and classification. (Anna Webber – flute; Sara Schoenbeck – bassoon; Nate Wooley – trumpet; Jeb Bishop – trombone; Dan Peck – tuba; Brandon Seabrook – banjo; Hank Roberts – cello; Eivind Opsvik – bass; Harris Eisenstadt – drums, compositions) On the 41-minute Recent Developments, composer/drummer Harris Eisenstadt redefines what ‘recent’ and ‘development’ can mean. Yes, this is new, recent music, the material develops over the album’s course, and the CD expresses Eisenstadt’s continuing artistic development. But Eisenstadt deliberately shows there’s more going on. For example, Eisenstadt merges older jazz elements with forward-thinking elements. During the 14 open-minded tracks, Eisenstadt blends contemporary, 21st century music with instruments typically thought of in context with jazz’s younger decades (such as tuba and banjo, or a muted trumpet), as well as instruments not often found in jazz (such as bassoon and cello). Eisenstadt also allots space for his nonet to develop their own musical identity via improvisation, as well as several interludes for duo and different groupings, which focus on specific instruments. Eisenstadt should be better known to […]
SCHUBERT: Arias and Overtures = Schubert’s Stage Music – Daniel Behle, tenor/ L’Orfeo Barockorchester/ Michi Gaigg – Deutsche Harmonia Mundi
SCHUBERT: Arias and Overtures = Schubert’s Stage Music [Listing below] – Daniel Behle, tenor/ L’Orfeo Barockorchester/ Michi Gaigg – Deutsche Harmonia Mundi 88985407212, 59:30 95/26/17) [Distr. by Sony] ****: Rare arias from Schubert opera and singspiel reveals a wealth of melodic and dramatic invention. Too often neglected, Schubert’s stage works present a rare treasury of melody and invention, finally revealed by these affectionate and conscientious realizations by conductor Michi Gaigg and tenor Daniel Gaigg, recorded June 2016. Hearing the popular 1822 Overture to The Magic Harp in “original” instruments came as a bracing shock, but the crisp articulation of instrumental entries and incisive rhythms adds an immediacy to Schubert’s singspiel, that had begun to gain independence from French and Italian models. Following the admonition of theater director Ignaz von Mosel, Schubert meant to convey “heightened declamation and powerful, vital, warm expression of emotions,” often bearing a (surprisingly brief) Masonic or humanist message. Schubert’s means of expression proves striking in its directness: he eschews Rossini’s penchant for canto fiorito, color writing that features trills and artificial ornaments. Schubert’s tenor arias usually address love as ideal or thwarted, and the timbre of an oboe or clarinet intensifies the lover’s quandary between […]
TOMAS LUIS DE VICTORIA: Works for Six Voices – Nordic Voices – Chandos
TOMAS LUIS DE VICTORIA: Works for Six Voices – Nordic Voices – Chandos SACD – 55:40, (6/16/17) : ****½ (Tone Elisabeth Braaten, Ingrid Hanken; sopranos / Ebba Rydh; mezzo-soprano / Per Kristian Amundred; tenor / Frank Havroy; baritone / Rolfe Magne Asser; bass) Sparkling a cappella one-voice-per-part performances of Renaissance polyphony at its zenith. This outstanding six-person ensemble from Norway has been performing choral music, ranging from plainchant to modern works commissioned especially for them, over the course of twenty years. They are surely happiest when they are singing with one voice per part as here, for they possess robust individual voices. This Chandos SACD deserves the closest attention and headphones to register the full impact, in terms of both separation and integration, of this exquisite group. The expertly crafted virtual sound-stage positions the listener twenty feet back, facing the half-circle with lower voices to the right, higher to the left. The choice of recordings, works by Tomas Luis de Victoria, is obvious enough; he is perhaps the most dramatic of the Renaissance Masters. This recital comprises Motets from a 1572 publication as well as three pieces from Liber Primus qui Missas, Psalmos, ad Magnificat Virginem. Most of our readers […]
BIBER: The Rosary Sonatas – Hélène Schmitt – Aeolus
BIBER: The Rosary Sonatas – Hélène Schmitt – Aeolus SACD AE–10256, 145:38, (7/13/17) *****: Biber, by now, has earned his place in the pantheon of baroque composers. Specifically, he represents the high art in Austrian music before Mozart. In trying to understand Biber the musician, it’s difficult to ignore the impact his Mystery or Rosary Sonatas have on informing us about his best work as a composer and virtuosity as a violinist. Biber scored fifteen of the sixteen works for violin and continuo, and capped these multi-movement works with a violin solo. The sonatas are each, in score, accompanied by visual scenes from the Rosary. The concluding passacaglia is sometimes called The Guardian Angel, based upon its accompanying visual image. The Passacaglia is reminiscent of the great Bach Ciaccona from his second partita, written likely around twenty years later than Biber’s collection. Of especial interest in these works is Biber’s use of scordatura—or re-tuning—of the violin strings. All but the first and last works require the performer to retune her instrument, offering us a new sonic signature for the instrument, in addition to new voicing possibilities for chords and faster passagework. This re-tuning offers a challenge to the modern performer […]
Heroic Proportions: Selected Works for Organ = Music by BACH, FRANCK, BARBER, STEWART, WILLAN – Felix Hell – MSR Classics
Heroic Proportions: Selected Works for Organ – J. W. Steere & Son Organ, Opus 665 – Music by BACH, FRANCK, BARBER, STEWART, WILLAN – Felix Hell – MSR Classics CD MS 1542 TT: 69:00 (2/28/17) ****: A fine performance of classic and more contemporary organ works Felix Hell is one of the most sought-after concert organists of his generation. He has had a fine career as a concerto soloist and recitalist and has performed more than 850 solo recitals throughout his native Germany, as well as in Australia, Canada, Finland, France, Iceland, Italy, Jamaica, Korea, Latvia, New Zealand, Norway, Malaysia, Singapore, Taiwan, Spain, Russia, and throughout the United States, where he has performed more than 500 recitals in 46 states. At the age of 21, Felix Hell received global recognition for his performances of the complete organ works of Johann Sebastian Bach in three full cycles. Then, in 2013, Felix Hell was engaged by the Germany Embassy in Seoul, Korea, to perform the complete organ works of Bach there, commemorating the 130th anniversary of diplomatic relations between Germany and South Korea. This disc features two classic organ pieces by Bach and Franck, along with some more contemporary works by […]
MOZART: Piano Quartet; Oboe Quartet; Oboe “Kegelstatt” Trio – Adaskin String Trio/ Sally Pinkas, p./ Thomas Gallant, ob. – MSR Classics
MOZART: Piano Quartet in E-flat, K.493; Oboe Quartet in F, K.370/368b; Oboe Trio in E-Flat, K.498 “Kegelstatt” – Adaskin String Trio/ Sally Pinkas, p./ Thomas Gallant, ob. – MSR Classics MS 1447, 62:02 [Distr. by Albany] ****: High quality readings of three seminal Mozart works, and one with a twist. “What Mozart Oboe Trio?” you might rightly ask. No, it’s not a header misprint, and the “Kegelstatt” appellation applies here. It’s simply an arrangement—the first on record per the notes of this release—for Mozart’s formidable piano trio. Unlike Haydn, who really went to town with his 40-odd compositions in the genre, Mozart wrote only seven—eight if you include the early Divertimento, K 254—and this one, easily the most popular, was darkened and sonically blended by the substitution of the clarinet for the violin, and the viola for the cello. The result is one of the most intriguing and richest aural tapestries in the literature. The composer didn’t set out to make any kind of statement with this, but instead wrote according to the dictates of the instrumentation available, in this case Anton Stadler on clarinet (Mozart himself took the viola part). Curiously, when the Trio was published, it was listed […]
Charles IVES: Three Places in New England; Orchestral Set No. 2; New England Holidays – Seattle Symph./Ludovic Morlot – Seattle Symphony Media
Charles IVES: Three Places in New England; Orchestral Set No. 2; New England Holidays – Seattle Symphony/Ludovic Morlot – Seattle Symphony Media SSM1015 (6/02/2017) 78:08 ****: Fresh readings of this American iconclast’s well-known music. Charles Ives, the insurance man and amateur musician turned revolutionary composer remains an “American original” whose music concert goers either greatly enjoy or not so much. He would probably have it no other way. Ives was, by all accounts, someone in love with the sights and sounds of his country but who was also deeply amused by the cliché of tradition and by what he considered the boredom of traditional concert hall music and a disdain for what—in the early third of the twentieth century—was a form of contemporary composition that Ives found, basically ‘too European.’ So, he became very well known for taking the sights and sounds of very idiomatic American, ‘New England’ holidays and park bands and festivals and creating his own absolutely unique sound. Both Ives and his father were in the park band scene and Charles grew up participating in church music as well. With Ives there was no formal book for harmony and invention. He used texture, orchestration, dissonance and consonance […]
BARTOK: Bluebeard’s Castle, Cantata Profana – New Symph. Orch. of London / Walter Susskind (cond.) – Praga Digitals
BARTOK: Bluebeard’s Castle, Cantata Profana – New Symphony Orchestra of London/Walter Susskind (conductor) /Judith Hellwigh and Endreh Koreh soloists – Praga Digitals CD PRD 250 349 300P (7/14/17) TT: 81:55 ***1/2 A fine performance of this dark but interesting work Praga Digitals has given us a new recording of Bartók’s only opera, although some call it a ‘mystery play’. The program has only 2 singers, a husband and wife, with the story centering around the wife wanting to know more about her new husband. Composed in 1911, the libretto for Bluebeard’s Castle was written by Béla Balázs, a poet and friend of the composer, and is written in Hungarian, based on the French literary tale “La Barbe bleue” by Charles Perrault. (The storyline—admittedly dark—is of the newly-wed couple, the husband’s enjoinment to “not look behind that one door”, and the results when his wife does exactly that.) On this disc it is performed in Hungarian, which is the way this work is usually presented. The performances and recorded sound are first rate, but the disc notes don’t contain the lyrics in English making this opera a tough slog if you don’t know what is being sung. If you aren’t up […]
Joachim Kühn New Trio – Beauty And Truth – ACT
Joachim Kühn New Trio – Beauty And Truth – ACT9816-2 48:02 ****: (Joachim Kühn – piano; Chris Jennings – bass; Eric Schaefer – drums) Like many others, Joachim Kühn made the transition from classical prodigy to jazz. In 1964, the Slovenia-born pianist founded the first “free jazz” ensemble. He moved to Hamburg in 1966. Early in his career, he recorded for Impulse Records and played at the Monterey Jazz festival. In the late 1960’s he worked with Phil Woods, Don Cherry, Karl Berger, Slide Hampton and Jean-Luc Ponty. In the later 1970’s, he was involved in the fusion movement with Billy Cobham, Michel Brecker and Eddie Gomez. From 1996-2000, he had a group with avant-garde pioneer, Ornette Coleman. Kühn prefers working in a trio format, as he did for nearly thirty years with Jean-Francois Jenny-Clark and Daniel Humair. Joachim Kühn has assembled a new trio for his current ACT release, Beauty And Truth. Backed by Chris Jennings on bass and Eric Schaefer on drums, the ensemble takes on unique covers and originals. The 72-year old pianist is fearless in his musical vision. The opening title track is a warm harmonic interlude of a Coleman song. It is lyrical and up-lifting. […]
Streams and Podcasts for 21 July 2017
This week, The Music Treasury will be featuring the works of that exceptional pianist, Jorge Federico Osorio. Osorio has a firmly established international reputation, with solo recitals and piano concerti performed with such conductors as Bernard Haitink, Lorin Maazel, and others. This two hour presentation of his works will be interspersed with an ongoing interview between the Osorio and the show’s host, Dr Gary Lemco; pieces will include the B-flat Sonata, D. 960 by Schubert, movements from Brahms Concerto #2 (B-flat major) and Mozart’s 23rd piano concert in A major, along with works by Debussy, Falla, Liszt… The show can be heard on Sunday, 23 July 2017, between 19:00 and 21:00, PDT. Dr. Lemco presents as a radio show with streaming broadcast: kzsulive.stanford.edu A review by Dr. Lemco for Audiophile Audition of a recent release by Osorio may be found here: Jorge Federico Osorio On both Saturday and Sunday, Edmund Stone will feature his observations on some parts of the vast repertoire of film scores. It too is broadcast as a streamed radio show, from its host station in Portland: AllClassical.org. The show can be heard between 14:00 and 15:00 PDT. On Sunday, there will be an encore presentation of the previous […]
Stereotypes Audio
Cembal d’amour
Pure Pleasure / Speakers Corner
Cedille
