Sorry, Freddy still Good but not any more capable to sing on top level

"George Antheil (1900-1959) caused a stir in October of 1923 not unlike the one provoked by Stravinsky’s Sacre du Printemps after performing a selection of his sonatas. Only when Erik Satie, in attendance for the performance, voiced his unflinching support did Paris accept him as the self-anointed “Bad Boy of Music.” What incited the audience was the sheer ferocity with which Antheil played, so unsettling was it in its precision. In doing so, he flirted with the Uncanny Valley, taking the human dangerously close to the mechanical. And while his American debut was met with less fruitful derision, Antheil remained convinced that he was as important as ever. Whatever we may think of the man, his tireless spirit (he was known to practice for 20 hours at a stretch) lives on in the keen performances of pianist Herbert Henck, who makes a welcome return to ECM, pairing the French maverick’s sonic factories with the more intimate production lines of American composer and political outcast Conlon Nancarrow (1912-1997). The double meaning of the album’s title, Piano Music, gives us clearest insight into its program. Almost instinctively, both composers took to the player piano, treating it as though it were an organism in and of itself. Henck uses the phrase “piano music” as one might speak of “bird song.”

My first Mary Black album and still my favourite

...and having enjoyed No Frontiers I'm now enjoying Speaking with the angel.  

Chicago Transit Authority

Chicago | Format: Vinyl

Hi Steve,

I really like Ahmad Jamal.  I have a few from his early catalog that may interest you, since you like the Pershing Lounge recording.

-Chamber Music of the New Jazz

-Ahmad's Blues

-Cross Country Tour:  1958-1961

-Complete Alhambra & Blackhawk Performances

 I haven't gotten past this era of his catalog with the exception of "Live! at Blues Alley"  (1991).  Which was my introduction to him. 

Regards,

Pat

Can't have too many JGB albums. 

Claude Debussy:  Nelson Goerner (Piano)

L'isle joyeuse

A fantastic album!  Nelson Goerner is an exception pianist, in my humble view and for me there are so many positives here that it would be unfathomable to pretend to find any fault with this.  Of course - Estampes....Images.... - this is holy grail territory for me.  The music itself is so exceptional and I have such a long history / connection with it - nothing but peaceful, good memories every time I think or it or hear it.

A good memory of Estampes and Images comes from around 25 or more years ago.  I happened to have been in the right place at the right time as I stumbled upon a university piano professor having one of her students play (basically rehearsing) in the Convocation Hall.  I quietly snuck in on a Saturday morning and only about 8 or 10 other piano students scattered randomly around this hall.  When the Estampes set started, I remembered vividly seeing everyone, including the professor, with there heads, either back or forward, eyes closed, like they were in a dream (as I was).  Each one absorbing the sound like a sponge.  What was most amazing and memorable though, besides the music/atmosphere, was the lighting.  Beautiful, soft lighting - mystical even - with variegated streams representing every shade of white.  The sound matched the view and the atmosphere.

Anyway, hearing these pieces never fails to transport me back in time - to a time when in those few precious moments I became aware of this music in a way that made me believe I understood just some important aspect of it but to this day I could never describe its meaning with mere words.

This just arrived yesterday...

Ej,

Boy you aren't kidding about her being the ice queen. 

Whilst both players have almost equal say in it but, there is not much of give and take of playfulness between them. On balance, this has a cooler and reserved attitude like Richter/Oistrakh. Even the dancing tune of No.2 isn't quite lively and happy. Can't claim this is the most animated duo.

I actually enjoyed that piano trio with Previn ( his playing is much to my taste than that dude in the Sonata )

Much livelier and in tune than the Violin Sonata. Mullova  again is cool as a cucumber maintaining an glacial composure. Energy between three musicans are good particularly both Previn and Schiff's more hot blooded plays off set Mullova's coolness. Adagio is interesting albeit it keeps going on and on without much musical stoppers and feel that there are other better sets than this one. Schiff's got a real flair and lyrical playing contrasting to Mullova's dead pan approach.

But that Violin Concerto is an odd bird.

Slow and sluggish opening and the things do not get better as the first movement unfolds. Mullova seems to be jittery and not as confident as she should. Abbado's orchestration is mundane and so middle of the road with very little rhythmic momentum. Through the score, Mullova gives me an impression of just skimming through the surface so somewhat unsatisfying.

Have you heard it?

Kuma,

Yes- I have the disc…

EJ

ah ha.

What do YOU make of it?

Well, it's been a while - and that is because while I occasionally enjoy the performance, it doesn't hold up well to repeated listening. Mullova embellishes her playing with many little touches (slides, emphases etc) and she nearly carries them off but not quite. I remember having no issues with Abbado's support or tempi, but I will give it a spin one of these days to confirm. I hate the applause at the end...

Cheers,

EJ

Symphonies 1 and 4 from Vänskä's earlier cycle with the Lahti Sympony Orchestra. Brilliant performances, again. The Finns definitely have this market cornered.

EJ

Sarah McLachlan  "Afterglow Live"

Just because it is Sarah !

The two main discoveries for me this year were the Finns in Sibelius (Vanska, Segerstam) and the music of Gesualdo. The music is of an otherworldly beauty, and I imagine very difficult to perform. A fantastic disc.

Cheers,

EJ

Pete Yorn "Back & Fourth"

Back to the 7-LP box set