Monday, August 29, 2016
Many years ago I met pianist Vladimir Feltsman, as he was resting outdoors prior to a concert in Aspen, Colorado. I found him to be a thoughtful, expressive person, and I loved his playing of the Bach Goldberg Variations once the concert began. Today I have for you a new recording by Mr. Feltsman which allows us to listen to music by Robert Schumann: Vladimir Feltsman plays Schumann Piano Works Schumann: Kinderszenen, Op. 15 Arabeske in C major, Op. 18 Blumenstück, Op. 19 Kreisleriana, Op. 16 Faschingsschwank aus Wien, Op. 26 Waldszenen, Op. 82 Fantasie in C major, Op. 17 Albumblatter, Op. 124 Carnaval, Op. 9 Bunte Blätter, Op. 99 Bunte Blätter, Op. 99: Stücklein Romance in F sharp major, Op. 28 No. 2 plus: Albumblätter (I-V) Performed by Vladimir Feltsman (piano) Pianist and conductor Vladimir Feltsman is one of the most versatile and constantly interesting musicians of our time. His vast repertoire encompasses music from the Baroque to 20 th-century composers. A regular guest soloist with leading symphony orchestras in the United States and abroad, he appears in the most prestigious concert series and music festivals all over the world. Mr. Feltsman’s extensive discography has been released on the Melodiya, Sony Classical, and Nimbus labels. His discography includes eight albums of clavier works of J.S. Bach, recordings of Beethoven’s last five piano sonatas, solo piano works of Schubert, Schumann, Chopin, Liszt, Brahms, Messiaen and Silvestrov, as well as concerti by Bach, Brahms, Chopin, Tchaikovsky, Rachmaninoff, and Prokofiev. Here is Mr. Feltsman in a performance of the wonderful Arabesque Op. 18 by Schumann:
Lang Lang is certainly the most mediatic pianist in the world. As you read the biography in the hand programme, you find precious little about music, but plenty of kudos about his influence; and he´s only 32. He played at the 2008 Beijing Olympics for four thousand million people; he collaborated with pop dancer Marquese "Nonstop" Scott, Julio Iglesias and Herbie Hancock. He is a Messenger for Peace of the United Nations and he has his own Lang Lang International Music Foundation with stress on giving children access to good music through education. Steinway even designed the Lang Lang piano for China. He is a staple in presentations before Presidents and is chosen for commemorative concerts such as the one for Queen Elizabeth II´s Diamond Jubilee at Buckingham Palace. He was one of the Global Leaders of the World Economic Forum (a musician!). But no mention is made about his training or his recordings or his early appearances. Lang Lang has been coming regularly during the last decade, so he seems to find the Colón attractive. In this recital of the Abono Verde (Green Subscription Series) the audience was quite varied, for apart from music lovers you had the mediatic seekers. The premices were full and increasingly enthusiastic; by the time the encores were played, the response was almost delirious; and he, as the showman he also is, saluted with charm and signed programmes. It helps that he is personable and very cordial. Now to the music. Lang Lang is realistic and he only squeezes small Chinese pieces in the encores. I have often wondered about the Oriental capacity to adapt to the Occidental world, for it doesn´t work the other way around. From this artist´s teens critics have recognised his amazing dexterity with something of the acrobatic mixed in; well, the best acrobats are Chinese. Apparently he can play faultlessly anything written for the piano, no matter how difficult. That´s the dazzling side, always present. But of course style matters and the success of the interpretation depends on it. In the same piece with Lang Lang you can hear a beguiling passage and seconds later a distorted view of the score, though note-perfect. That has been so in every visit, and there´s no sign that the problem will disappear. Nevertheless, the experience of hearing him is always interesting and worthwhile, and a good many minutes will be of very high rank. His recitals have always brought different programmes and sometimes his choices were intriguing. E.g., being such a virtuoso, why choose an easy Mozart sonata? He can also bring over some beautiful music very rarely heard, as he did this time with Tchaikovsky´s "The seasons". And he can disconcert playing it before, not after, Johann Sebastian Bach´s "Italian Concerto". "The seasons" is a misnomer for what should be called "The months". It was the result of monthly pieces written for a Saint Petersburg music magazine, afterwards edited by Jurgenson as Op.37a (Op.37 is the Great Piano Sonata in G). Beginning of course in January, an intimate piece called "Close to the chimney", each month has different character and title, sometimes brilliant and fast ("Carnival", "The Hunt") but more frequently melodic in the inimitable tchaikovskian way ("Barcarolle", "The lark´s song"). The last two are November ("Troika") and December ("The salon waltz"). In my long years of concert going I had never heard the whole suite in one concert, and Lang Lang is to be thanked for this discovery, though of course there are recordings (Ashkenazy, Bronfman, Pletnev; Ilona Prunyi plays them very nicely). Exciting but exaggerated in the fast ones, Lang Lang showed the subtility of his touch in the melodies, molded delicately and phrased with taste. His memory always seems excellent, you never see or hear a hesitation; you may disagree with some of his decisions, but he never improvises: he is sure of himself at all times. Bach´s marvelous Italian Concerto (called thus although written for one instrument) is of course a staple of the repertoire of harpsichordists (preferable) and pianists. Lang Lang uses the full resources of the modern piano but he doesn´t abuse the pedals and he has the sort of total independence of hands needed to keep the constant counterpoint clear. So, although slightly fast, he kept a steady rhythmic pulse. The four Chopin Scherzi are among his most important creations, wholly his in conception and technique, and equally mature from op.20 to Op.54. They all have a main Presto and a contrasting slow, moody melody. They can be played quite fast but not willfully, such as Orozco, Argerich or Rubinstein did; but Lang Lang suddenly sprints off when he resumes the Presto material at a double-fast clip not asked for by the composer, and the balance deteriorates. The perfection of the playing survives, but not the spirit. However, how lovely and contained were the quiet moments. In two of the encores he was at his worst: a wild, brutal "Fire Dance" from Falla´s "Love the Magician" ("El Amor Brujo") and a disheveled "Danza cubana" by Lecuona.(Listen respectively to Rubinstein and the author to know how they should sound). And in the middle, an inocuous slow Chinese melody, nicely done. Will he change in the future? I bet he won´t. He will remain fascinating and irritating. He likes things his way and that´s that. For Buenos Aires Herald
We have been sent a list of the 100 most searched classical pianists on Wikipedia, the global reference site. Since the site lists every musician who ever touched a keyboard as a pianist, it’s not suprising that Mozart comes first with an average 5,631 searches a day, Beethoven second with 4,668 and Chopin third with about half as many. The big eye-opener is who comes fourth. It’s John Cale, one of the founders of Velvet Underground and about as classical as Johnny Rotten. 5 Gershwin 6 Liszt 7 Stravinsky 8 Ludovico Einaudi, the icy Italian minimalist 9 Herbie Hancock 10 Leonard Bernstein, averaging 1,077 searches a day 11 Rachmaninov 12 Shostakovich. No one else tops 1,000 searches a day. The findings, collated over viewings in the past two weeks, suggest that Wikipedia needs to tighten up its search criteria to define what is classical and what is a pianist. Among other personalities listed are Samantha Bentley, an English porn star (421 views) and Mark Rutte, Dutch prime minister (338). It may be safely assumed that those searching their names on Wikipedia are not planning to book them for a Liszt concerto. From the above data, we have compiled a mini list of professional concert pianists still alive and playing. Click here for thrills and spills.
Frith/Northern Sinfonia/RSNO/Haslam/MogreliaChopin and Liszt, both virtuoso pianist-composers, attended the premiere of John Field’s Piano Concerto No 7 in Paris in 1832. They would have heard brilliant, fluent pianism, but little to stir the emotions. Field’s music is pleasing, sometimes touching, but doesn’t plumb any great depths. Benjamin Frith’s recordings of the earlier concertos with the Northern Sinfonia won deserved praise, and this account of No 7 was recorded a good while ago, presumably awaiting a companion in the shape of the Irish Concerto, which oddly reworks a movement from the Second Concerto, and a thoroughly cheerful solo Piano Sonata. Sophisticated accounts of good but not great music. Continue reading...
I love the sound of the Cello, because of its deep and warm tone in the hands of a mature artist. This CD gives us a large variety of cello melodies as performed by Sol Gabetta: Casals: El Cant dels Ocells (Song of the birds) Chopin: Nocturne No. 4 in F major, Op. 15 No. 1, with Bertrand Chamayou (piano) Delibes: Les filles de Cadix Dvorak: Waldesruhe (Silent woods) for cello and orchestra, Op. 68 No. 5 Rondo in G minor for cello & orchestra, Op. 94, B. 181 Elgar: Cello Concerto in E minor, Op. 85 Fauré: Pavane, Op. 50 Rimsky Korsakov: Flight of the Bumble Bee Rossini: Largo al factotum (from Il barbiere di Siviglia) Saint-Saëns: Le carnaval des animaux: Le Cygne Tchaikovsky: Kuda, Kuda ‘Lensky’s Aria’ (from Eugene Onegin Andante Cantabile (from String Quartet No. 1 in D Op. 11) Vasks: Musique du Soir Vivaldi: The Four Seasons: Winter, RV297 All performed by Sol Gabetta (cello) Sol Gabetta is an exceptional young cellist, and this is an exceptional compilation of the work she has done in the recording studio so far in her short career. In addition to Elgar’s Cello Concerto, there are also some Elgar salon works, and a couple of really worthwhile short pieces by Dvorak: Silent Woods and the Rondo. The second dosc is mainly given over to short encore pieces such as, inevitably, Saint-Saens’s The Swan , and less obviously, Pablo Casals’s beautiful reworking of a Catalan folk song, The Song of the Birds. Here is Sol Gabetta in the Cello Sonata by Johannes Brahms:
WRITING MUSIC INTO FICTION By Roland Colton As an amateur pianist with a passion for classical music who also loves to read great fiction, I have often lamented the dearth of novels in this genre. Several years ago, a story began to form in my mind that centered upon a gifted young pianist in Victorian England. It took me a while to put pen to paper as the task of writing a novel seemed utterly daunting. But once I had written several key scenes, I found myself carried away in an unexpected creative surge that ultimately culminated in the completion of a manuscript entitled Forever Gentleman. After sending out queries, I was delighted to receive a book contract from an east coast publisher last fall and the book was released to the public just three weeks ago. My intention was to write a story that would appeal to those who love classical music, and particularly to pianists. However, the book is much more than a novel about music; it is also a mystery, a romance, teeming with suspense, intrigue, mistaken identities and unexpected twists and turns. My novel takes readers back in time to nineteenth-century London, a city of beauty and brilliance, and a city steeped in filth and despair. The protagonist, Nathan Sinclair, a struggling architect and gift pianist, lives in both worlds, mingling in high society while dwelling in suffocating debt and poverty. One of the challenges I faced in writing the book, was to depict with words, the music that accompanies the story. To better accomplish this task, I attempted to learn and play compositions that taxed my ability as an amateur pianist. In the opening chapter of the book, Nathan performs Chopin’s Quatrième Ballade, a work I had never seriously considered learning, but nevertheless was one of my favorites. Working from the back forward (as I was taught to do in my youth), I gained increased respect and awe for pianists able to master that brilliant composition. Delving deeply into this and many other works helped me to better put into words the music that appears in the book. Another challenge was to dramatize the age of musical and artistic enlightenment and the deluge of creativity that existed during the nineteenth century. In my opinion, there is no better way to travel back in time than to hear music from a bygone era. I wanted readers to relive this age of creativity and experience the music in a contemporary context, not as a distant voice from centuries past. Writing this novel also gave me an opportunity to create scenes that I, as a classical music enthusiast, would dearly love to see take place in a book or movie. One of those scenes is every amateur pianist’s dream, but one, unfortunately, which I dare not share, for fear of spoiling the surprise. The setting of my story also coincides with the development of the modern-day piano, revolutionary in its day, when craftsmen had developed a rim-bending process that was said to give pianos a remarkable sound and character. We experience the moment through Nathan’s eyes when he first encounters the extraordinary Steinway concert grand–winner of the Grand Gold Medal of Honor at the Paris Exhibition. We observe Nathan as he caresses the stunning rosewood finish and imagine the musical vibrations the instrument will create, before he finally raises his hands above the keyboard to play Liszt’s Concert Etude in D-flat major. Finally, I endeavored to document, in my story, the dexterity, dynamics and beauty of compositions well known today and others that have disappeared from today’s repertoire. In doing so, I attempted to select words and phrases that would re-create, in some small way, the challenges of performing the music as well as how the music stirs the listener’s ear. Writing music into fiction has helped me gain an even greater appreciation for the brilliance, imagination and creativity of the prodigious composers from the past. _______________ Roland Colton is a trial attorney, classical pianist, and author of the historical novel, Forever Gentleman. For more information about Colton and his work, visit www.rolandcolton.com. FOR A FREE GIVE AWAY OF “FOREVER GENTLEMAN” CONTACT ILONA@GETCLASSICAL.ORG
Frédéric François Chopin (22 February 1810 / 1 March - 17 October 1849) was a Polish composer, virtuoso pianist, and music teacher, of French-Polish parentage. He was one of the great masters of Romantic music. Chopin is also known as "The poet of the Piano". Chopin was born in ?elazowa Wola, a village in the Duchy of Warsaw. A renowned child-prodigy pianist and composer, he grew up in Warsaw and completed his musical education there. Following the Russian suppression of the Polish November 1830 Uprising, Chopin settled in Paris as part of the Polish Great Emigration. He supported himself as a composer and piano teacher, giving few public performances. From 1837 to 1847 he carried on a relationship with the French woman writer George Sand. For most of his life, Chopin suffered from poor health; he died in Paris in 1849 at the age of 39. Most of Chopin's works involve the piano. They are technically demanding but emphasize nuance and expressive depth. Chopin invented the musical form known as the instrumental ballade and made major innovations to the piano sonata, mazurka, waltz, nocturne, polonaise, étude, impromptu and prélude.
Great composers of classical music