‘Blueprints’: Nikolai Kapustin’s Piano Music for the Jazz Trio
Frank Dupree, piano; Jakob Krupp, bass; Obi Jenne, drums (Capriccio)
When I reported last year on Frank Dupree’s first pianist album of works by Nikolai Kapustin, Dupree previewed what was to come. As for his next engagement with Kapustin, a swing-influenced Russian composer, Dupree said he will be releasing a series of solo piano pieces played by a traditional jazz trio. system.
Now that the results are out, the wisdom of the idea is obvious. Dupree may have recorded an interesting solo set, as his feelings for Kapustin are as fluid as ever. But we currently have no shortage of solos by this one player – including those by Marc-André Hamelin, Steven Osborne and Kapustin himself.
The element of improvisation on the “Design” is very subtle. Dupree plays piano solos as they are noted, and bassist Jakob Krupp follows left-handed. The album’s distinguishing improvisational element was left to percussionist Obi Jenne. And it’s his interventions that really elevate the series. In a work like Op. 41 Variations, Kapustin moves rapidly between different upside down styles; Jenne’s shifty rhythmic juggling accentuates each change. Perhaps not all of the items here need a jazz combo handle. But when the arrangement worked – as did the selections from the Eight Études Concerts – the trio added a new shock to the material. SETH WALL COLOR
Brahms: Late Piano Work
Paul Lewis, piano (Harmoniac Mundi)
To listen to pianist Paul Lewis’s new album about the late Brahms, you’d think these tracks were written right after Schubert’s last sonata, which Lewis had. recorded with hard restraint. Bridging the gap between the 1828s and the early 1890s, Lewis’s was a vision of Brahms as a complete classicist; These final four solo sets are presented with cautious pacing and clean, light emotion – intelligent, responsive readings.
The abstinence about the first bust made Lewis’ Schubert humble, at times making his Brahms apprehensive about grandeur and especially mystery. These are mild, affecting interpretation more than contemplation, let alone unsettling; Lewis sometimes emphasizes the lightest of dynamics, giving it a sense of gentle frankness when you want (at least) epic touches. Apartment Intermezzo in E (Op. 117, no. 1) doesn’t seem to be lost in the middle – as in Standard recording of Radu Lupu 1987 – so the return to the subject is less overwhelming.
But a clear Intermezzo in A (Op. 118, no. 2) is deeply satisfying; Intermezzo in E Minor (Op. 119, no. 2) leaves lucidity with dreaminess. And the Lewis sparkle in the middle of Rome in F (Op. 118, no. 5) gives the transition back to a sense of sobriety at the quiet end of great power. ZACHARY WOOLFE
Lise Davidsen, soprano; Leif Ove Andsnes, piano (Decca)
The recording industry has finally found a way to arrest Lise Davidsen. A shining soprano having considerable dynamic range, capability comparable to floodlight power, and low penetration of laser pointers, she did not perform well on her first two albums for Decca, which are material sensitive and intelligent interpretations rather than versatility or resounding power.
Now, after shows by Wagner, Strauss, Beethoven and Verdi, there is an album closer to Grieg’s songs performed with pianist Leif Ove Andsnes – a collaboration between two Norwegian musicians. color in the works of their country’s most beloved composer. The scale of this show is more fitting than Davidsen’s previous albums in conveying the finesse of her vocals, and her gift of endearing lightness; There are funny phrases here that you don’t understand in “Tannhäuser”.
Throughout the album – beginning with the eight-track “The Mountain Maid” and continuing with excerpts from other collections – Andsnes is an artist with an evocative voice, with sparkling dreamy images. in “Singing,” the galloping festival in “New Year’s Eve,” and momentum in “A boat on the swaying waves.” And Davidsen is a nimble, lovable jockey in the opening cycle’s “Encounter,” then breaks down in Schubertian’s epilogue, “At the Gjaetle Brook,” and then takes on the lightness as well. Folk and Wagnerian up six songs by Op. 48. Thanks to Grieg and these artists, you will never be touched by a song called “Snail, Snail!” JOSHUA BARONE
The Academy of St. Martin in the Fields; Neville Marriner, Conductor (Rhetoric)
Now it’s easy to have a little humor about Neville Marriner Achievements with St. Martin in the Fields, the partnership is famous for being the most documented in history. With the success of the period musical instrument movement, hundreds of their recordings on modern instruments have become known to be a bit serious – certainly factual and believable, but still dusty relic of a forgotten era.
But this is totally interesting Set of 15 discs – the first collection of 33 Haydn symphonies staged between 1970 and 1990 – is a rich reminder that there are perfectly artistic reasons for which Marriner and his chamber orchestra have succeeded. commercially resounding.
Initially conceptualizing their work as a edgy, stylistic reinterpretation of the older, stricter approach to the Baroque and Classical repertoire, they played the piece with infinite collective commitment. tempo – slow movements sing gracefully, outward movements sparkle in their motives and inventions. If there is a little more passion in Haydn’s earlier symphonies than in his later ones, they are all critically acclaimed and full of life. DAVID ALLEN
George Walker: Piano Sonatas
Steven Beck, piano (Bridge)
In 2018, when composer and pianist George Walker died at the age of 96, there were many achievements to remember, including his Pulitzer Prize – the first award given to a Da composer black. But there is also a refutation of a missed opportunityfor very few elite classical institutions were seriously involved in Walker’s work while he was alive.
Prolonged inattention to the recordings; There is still a notable scarcity of Walker-specific sets. The very slightly edited version appears on this new album, in which Steven Beck takes on all five of Walker’s piano sonatas, written between 1953 and 2003.
The first sonata, revised in 1991, provides some of the galloping energy that seems necessary when proposing the Americana, but it also includes a compelling harmonic edge that accentuates the maverick spirit. By the time of the Third Sonata, written in 1975 and revised in 1996, loss took center stage. But Walker’s signature sense of contrast – including the intermingling of resonant motifs and captivating chord booms – remains evident. With hack-and-slash gameplay and sensitivity to the turn, Beck’s performance highlights every line of a well-rounded artistic life. SETH WALL COLOR
https://www.nytimes.com/2022/01/27/arts/music/classical-music-albums.html 5 Classical Music Albums You Can Listen To Right Now