Chopin's two piano concertos have long been admired more as pianistic vehicles than as integrated works for piano and orchestra. But in his revelatory new recording, Krystian Zimerman suggests otherwise: The opening orchestral tuttis have so much more light, shade, orchestral color, and detail, you wonder if they've been rewritten. Every gesture, every instrumental solo is so specifically characterized that by the time the piano makes a dramatic entrance, the pieces have become operas without words.
Instructional series in harmony with traditional instruction that specializes in teaching the aspiring pianist all of the important skills.
Gain rare insight into the musical thinking of one of the most influential popular songwriters and arrangers in America. Donald Fagen analyses three Steely Dan hits ("Chain Lightning," "Peg," "Josie") and two solo works from his Grammy-nominated album Kamakiriad ("On The Dunes," "Teahouse On The Tracks"). These songs use familiar blues and R&B structures, and Donald explains how, by altering the bass line and chordal qualities, he transformed them into sophisticated jazz-rock compositions. You'll trace the development of increasingly complex pieces as Donald and Warren Bernhardt reveal each tune's singular structure, harmonic and rhythmic characteristic, intro ideas and other devices.
The penultimate volume in Hyperion’s four-part survey of the complete solo piano music of Ernő Dohnányi focuses on music from the period when the composer’s pre-eminent position was being assured. The titles of the largest works here, Ruralia hungarica and the Variations on a Hungarian Folksong, mask in their nationalistic ostentation the skill of a true master of piano composition. Martin Roscoe inhabits the world of Dohnányi’s music like no other—appraisals of the earlier volumes attest to this—and this new recording is a joy.
This is Volume 4 in Barry Douglas’s monumental project to record the complete works for solo piano by Johannes Brahms. Each volume has been released to critical acclaim, the first one, in 2012, being seen by BBC Music as ‘a triumph of Brahmsian thought, with playing that gets right to the heart of the composer’. Once again, the album is presented as a stand-alone recital, prominently featuring the C major Sonata, which was Brahms’s first published work. The influence on Brahms of his early romantic predecessors Beethoven and Schubert is obvious here, not only in the virtuoso demands on the performer but also in the opening, which recalls both Beethoven’s ‘Hammerklavier’ Sonata, Op. 106 and Schubert’s ‘Wanderer’ Fantasy.