What are you listening to and WHY might anyone be interested? (Vol. XIII)

Fryderyk Chopin (1810-1849):  Katarzyna Popowa-Zydroń (piano)

Mazurkas from Op. 50, 56 & 59
Prelude in c-sharp minor Op. 45
Fantaisie in f-minor Op. 49
Berceuse in D-flat major Op. 57
Barcarolle in F-sharp major Op. 60
Polonaise-Fantaisie in A-flat major Op. 61

Oftentimes the greatest artist (or fill in the blank) is the one you may never ever hear about in the headlines (at least for me). Unless, through a chance meeting or encounter, you happen to be receptive, open and ready for what you may not expect.

I have nothing against big name stars. They are stars for a reason (they are very good) and have earned a place among the best. What about all the rest though (the non-Richter’s, the non-Pollini’s, the non-Argerich’s….)? Are they worth giving a fair chance to as well?

What started me on this journey recently was a little exercise I embarked on where I decided to consider all the finalists (top six places) of the International Chopin Piano Competition held in Warsaw since 1927. I will likely never hear them all but I wanted to investigate this to some degree and at least go beyond the ‘household’ names that everyone knows today.  Anyone who makes it this far as a contestant even is a winner in my books.

Along comes Katarzyna Popowa-Zydroń and I suddenly feel at one with her.  Contrast this with a very difficult relationship I had with Pollini's latest Chopin disc (he won 1st place at VI: 1960).  I simply could barely make it through one listen.  Yes, it rubbed me the wrong way but that doesn't mean it cannot work for anyone else just as this disc I am in love with quite likely would not fly with most here who might be reading this.

Katarzyna Popowa-Zydroń competed in the IX: 1975 competition where she was given an honourable mention (apparently not placing due to her battling the flu.) For those that follow these things you would know that this was the competition that Krystian Zimerman won.  Since, Popowa-Zydroń has dedicated her life to teaching mainly and probably would have remained largely in obscurity had it not been for one of her students winning the fifteenth competition 30 years later.   Of course, I am talking about Rafał Blechacz.  Since she was a juror in the 16th competition (Yulianna Avdeeva won) and she was the Head of the jury for the last competition (XVII: 2015) in which Seong-Jin Cho won.  I have been a huge fan of all three of these winners and each has a distinct sound.  Stylistically, I would say that Popowa-Zydroń's playing is most closely matched with that of Seong-Jin Cho.  Personally though I would pick Katarzyna Popowa-Zydroń as having the huge edge.

The reason is her vision of Chopin matches mine.  Not overly emotional and definitely not overly muscular.  Intellectually, impeccable.  Next to marvelous technique comes the choices of what you do with it.  You will likely not understand what is so miraculous about Popowa-Zydroń unless you have a deeper understanding of who Chopin was and what he personally and intellectually aimed for.  Reading the letters and biographies of Chopin is the start but ultimately you have to have the score in hand here for the listening at least for some of the initial listens and then you can close your eyes and be carried off somewhere to a better place.

Once you understand that Popowa-Zydroń is not merely just playing notes anymore but is many layers deep below the surface already.  The differences might be noted in her choices of tempo, tone, rhythm and phrasing as well as knowing how to play perfectly with time and silence.

The album cover perfectly illustrates the connection between performer (and listener) and the composer.  It is a letter to the composer to initiate a conversation with him.  Very few understand this and Popowa-Zydroń gets it right in my opinion.

This is all mostly late Chopin but the initial c-sharp minor Prelude sets the tone of what I think Chopin does best.  It is hypnotic and touches us emotionally as well as intellectually but the trance starts hear.  There is so much to say here about the music that I will try for this on another day.  Suffice it to say though that I will continue to turn to this album regularly for my inspiration.  It actually reminds me very much of the type of Chopin playing I remember hearing more often as kid and may explain why it resonates so dearly with me.

Stevee_S posted:

Streaming  | WAV

(1973 | 2010)

 

My fav Doobies album

Great album, great artiste ...

Grant Green: Grant Green: Idle Moments
> Grant Green
Idle Moments

Blue Note

1964

Guitarist Grant Green is most widely remembered today as a godfather of acid jazz, a consequence of the many groove-centric albums he recorded during his career. His debut, Grant's First Stand (Blue Note, 1961), was made with soul jazz organist Baby Face Willette and in 1965, when Green recorded an album for Verve, the label was able to title it His Majesty King Funk and face no challengers. Most of Green's later albums, particularly those made post-1970, were built around extended blues/funk jams.

Funk came naturally to Green, and he made some deep albums in the groove, but it's often forgotten that he was a singular straight-ahead player, a master of gorgeously melodic improvisation (in which the blues were rarely absent). Right from the off Blue Note also recorded him in ex-funk settings. Standards (Blue Note, 1961), a trio recording with bassist Wilbur Ware and drummer Al Harewood, and Born To Be Blue (Blue Note, 1962) made with a quintet including tenor saxophonist Ike Quebec and pianist Sonny Clark, are the best of the early-1960s outings. Street Of Dreams (Blue Note, 1965), made with vibraphonist Bobby Hutcherson, organist Larry Young and drummer Elvin Jones, was another remarkable, mid-decade set.

But the greatest "pure" jazz album Green ever made, perhaps the greatest album period, may be Idle Moments, recorded over two sessions in November, 1963, and featuring Hutcherson and tenor saxophonist Joe Henderson. It offers in its dreamlike title track, written by pianist Duke Pearson, 14:52 minutes of the most serene instrumental romancing ever put on disc.

The duration of the track came about by accident. Called just before midnight, "Idle Moments" was the last tune to be recorded at the first session, and the playing times of the three tracks already in the can meant it had to be no longer than 7 minutes—anything over that would bust the maximum LP playing time of around 40 minutes. But due to a misunderstanding, Green soloed for 64 rather than the planned 32 bars, and Pearson, Henderson and Hutcherson followed suit, each soloing for twice as long as had been expected. Fortunately, producer Alfred Lion had the ears and wit to keep the tape machine running.

This wasn't the first time Green had recorded an extended track. At 15:02, "Blues In Maude's Flat" on Grantstand (Blue Note, 1961), made with tenor saxophonist Yusef Lateef, was a fraction longer. But the length there had been intentional; on "Idle Moments" the approaching midnight hour and general end-of-session atmosphere took over. Green's so relaxed it's almost horizontal solo—a gentle cascade of fresh, unhurried, shimmering lyricism—created a vibe which was brilliantly maintained by Pearson, Henderson and Hutcherson.

"Idle Moments" is music of rare and breathtaking beauty, but the album's other tracks are also exceptional. Two of them—Green's "Jean De Fleur" and John Lewis's "Django"—were re-recorded a week or so later, in shorter versions which allowed "Idle Moments" to be included on the album in it entirety. These and the original, longer versions—"Django" runs over 13 minutes—are included on the CD release.

Track sequencing means that one of the last improvised notes on the disc is a rich, resonant and deliciously unexpected low-end punctuation mark from Henderson, to which the only response is a whispered "yeah" and a punch of the repeat button.

Track Listing: Idle Moments; Jean De Fleur; Django; Nomad; Jean De Fleur (alternate version); Django (Alternate Version).

Personnel: Grant Green: guitar; Joe Henderson: tenor saxophone; Bobby Hutcherson: vibraphone; Duke Pearson: piano; Bob Cranshaw: bass; Al Harewood: drums.

Thanks to the people who mentioned Lizz Wright above (Seakayaker, Tony2011, NigelB and ewemon, all people whose taste I've learnt to trust in my 6 months on the forum). Damn, she's got a great voice, and is also a great interpreter, I feel a trip to the river coming on. 

ewemon posted:

Stevee_S posted:

Streaming  | WAV

(1973 | 2010)

 

My fav Doobies album

 

Yep, my favourite too.

(1976| 2010)

Just one more from the Doobies for tonight.

Berg's  immensely moving violin concerto played wonderfully by Mutter with the CSO under Levine playing superbly as well. The final few minutes are heart-wrenching, 12 tone blended with Romanticism in a devastating puece of music. The RIhm paired with it is the only work I know from the composer, lovely heartfelt music brilliantly played. 

An old Benjamin Clementine from 2015. 

An amazing talent who just disappeared off the map after this album only to resurface this year with a brand new album.

Fryderyk Chopin (1810-1849):  Katarzyna Popowa-Zydroń (piano) vs. Maurizio Pollini (piano)

Polonaise-Fantaisie in A-flat major Op. 61

I always a little guilty in retrospect of writing something which gives a strong opinion for or against something.  After writing my earlier thoughts I decided it would be best to confirm whether I was off-base (despite my preferences).

I do not want to give the impression that the Pollini is not good in any respects.  It is fine playing and no one can dispute the exceptional level to which he has reached to in his long career.  I could compare the Fantaisie or Barcarolle or Berceuse or the Prelude or some of the Mazurkas but today for expediency I'll only compare the Polonaise-Fantaisie.

Again, if I only listened to Pollini on Gilligan's Island and this was the only album that survived the ship wreck then I guess I would be OK with it plus the fact that the ship wreck gave me amnesia and so I wouldn't know that I spent so much time at the keyboard and could play and dream about things.

Seriously, when I listen to Pollini I personally note things in my mind that say "I would do this differently" or "I like what he did here."  The same goes for Popowa-Zydroń.  She isn't exactly perfect and I like some things and question others.  The outcome though is decided by the overall impression.

So first comment is with the most obvious.  Popowa-Zydroń clocks in at 14' even and Pollini at 11' 31".  This explains much of the difference as this is not even close.  It explains a major philosophical difference in how each interprets this piece.  As a result, from Popowa-Zydroń I hear a certain softness which balances nicely with some of the louder, more intense passages.  More importantly, I can hear (sense) an overall structure in the music.  It is a story introduced and builds with tension until it is released.  It ends as it begins with purpose.

Immediately from the opening you can hear the questioning Popowa-Zydroń presents (similar to her beautiful Op. 45 Prelude).  Very dreamy.  But then tension is introduced and this is later juxtaposed against the sostenuto/legato/softness of the middle section.  Before and after this the tension / agitato is gradually increased bit by bit until the appropriate time of release.  While I still think Popowa-Zydroń missed some opportunities (marked crescendos/decrescendos missed) and so on she generally gets it right overall.  

Pollini on the other hand tends to sound the same from beginning to end as far as dynamics are concerned.  In the middle section, where a piu lento is indicated, it doesn't seem obvious that this is to occur because of his speedy tempo to begin with.

Overall, the question I always ask myself before judging myself or others is if what I am listening to meets the absolute requirement of beauty.  In Chopin, I need to have evidence of beauty in the overall sound and the knowledge that what I am hearing is following the character of the composer.  

The attention to details is what an additional plus for Popowa-Zydroń.  Pollini may be exactly perfect in his replay but it is the microsecond delay or breathing while playing that makes the difference.  I also thing that she has thought long and hard about more things than Pollini did.  Hope I'm not digging a bigger hole for myself here.  Nothing against Pollini but just very happy that there is choice to be had in the world.

The beautiful Mendelssohn Piano Concertos played by Peter Katin. Lovely romantic compositions with great melodies brilliantly set.  A colleague told me last  week that Katin was an old family friend of his, which inspired me to listen to these, Katin's technique and understanding of tbe Romantic style make these lovely recordings of gorgeous music. 

Ripped CD.  Monteverdi - The Heritage cd6 - Il Canzoniere(1999)

playing and sounding great right now...

enjoy

ken

nigelb posted:

seakayaker posted:

Next up in the Queue.....

Lizz Wright - The Orchard

A few mentions of Lizz Wright by ewemon, nigelb, and tony2011 above peaked my interest in Lizz. As Nigel mentioned I searched on her name with correct spelling and can not see the Album Grace, just a couple of single tracks. Thanks for the mention and recommendation.

A few tacks into The Orchard and it is sublime. What a singer our Lizzzzzz is. Just wonderful. Don't you just love this place!

Streaming it now from Qobuz.  Grace is also there.    TYVM for the recommendation.

I always felt like this was the ever so slightly "disrespected" album (for lack of a better term) of their first 4 (or IV), but it is as good or better than any of the other 3.

nigelb posted:

seakayaker posted:

Next up in the Queue.....

Lizz Wright - The Orchard

A few mentions of Lizz Wright by ewemon, nigelb, and tony2011 above peaked my interest in Lizz. As Nigel mentioned I searched on her name with correct spelling and can not see the Album Grace, just a couple of single tracks. Thanks for the mention and recommendation.

@seakayaker, if you like Lizz Wright, I would suggest you also have a listen to Kandace Springs and her Soul Eyes album.

It is on Tidal and I would be interested in your thoughts.

N

Nigel, I purchased a copy of Kandace's Soul Eyes CD back in June after it was recommended on this forum. Tremendous, exceptional voice and piano player. This is a an album worth the time to listen and may lead to buying a copy for the library, it did for me.

 I am also looking forward to listening to 'Grace' by Lizz Wright when I can find it. My wife commented that she like 'The Orchard' so I'll be looking at more of her music as well.

Now Playing.....

Kandace Springs - Soul Eyes

Why - because it is a fantastic album and the prompt from nigelb moved Kandace to the front of the queue.....

Next up in the queue.....

Lizz Wright - Freedom & Surrender

Why - I enjoyed Lizz's "The Orchard" quite a bit and wanted to continue on the journey.

1st run.....

Bert Schurink posted:

1st run.....

 

Below the Grammophone review...

After her controversial previous disc, a brave if sometimes misguided attempt to invest Chopin with a renewed sense of drama and significance, the wonderfully gifted 23-year-old Lise de la Salle gives us a Liszt recital of astonishing strength, poetry and, for one so young, musical maturity. Whether in fist-shaking defiance, radiance or baleful resignation, she is superbly responsive to Liszt’s rhetoric in the Dante Sonata. Here, as elsewhere, everything is given time to “speak, to weep and sing and sigh” (part of Liszt’s own definition of a true virtuoso). She has all the pace and technique for the ferociously demanding “Mazeppa” Etude yet there is never a hint of extraneous display.

In the Second Ballade she commences its epic story (for Sacheverell Sitwell, less concerned with personal suffering than with “great happenings on the epic scale”) with a wholly individual conjuring of menace, like so much distant thunder, and the final pages have a superb opulence before a coda of a sustained visionary beauty. She captures all the sombre magnificence of “Funérailles” and ends with a memorably full-blooded account of the Wagner‑Liszt Isoldes Liebestod. She is as poised and refined in miniatures as she is in her large-scale offerings and, wherever you listen, you will hear Liszt-playing of a special distinction. Lise de la Salle has been finely recorded and this, her seventh disc for Naïve, is a crowning achievement.

ted_p posted:

Roger Waters

The Wall Live In Berlin - Tidal HiFi

Listing to this version of "The Wall"  for the first time ever after listing to a story about the the "Scorpions" on the "Hairy Rock Show"on "Planet Rock" this morning.

Can you hear me?  I was in the crowd on my 18th birthday.

An Album dedicated to those feelings that only just make it to words.  

Tried this on, however not so much my music..

While the arrangements are pretty nice..