plays Philip Glass - 2 CD's
By Michael Birman
Philip Glass may be characterized as a minimalist composer but his music transcends the genre. Minimalism is a catch-all phrase but basically it means a compositional style that considers horizontal development to be more important than the vertical component of a musical piece. In other words, that the melody line is the main focus of the composer's attention and, while not entirely ignoring the vertical or polyphonic (counterpoint) elements, the composer is really more interested in the temporal or melodic aspects of music rather than the spatial interplay of several lines of notes.
This is hardly a new development in the history of music. Something similar occurred around 1750 with the death of Bach, when there was a declining interest in "archaic polyphony" by composers who wanted a simpler, more immediately appealing form of music that we now call homophony. This meant creating new textures in which multiple parts move together but with a single melody line of prime importance, and a renewed interest in chords and harmony. A new aptitude for writing melody for its own sake resulted (melody had become difficult to discern in complex polyphonic music like a Bach fugue). The Classical style music of Haydn and Mozart was born. Something similar occurred in reaction to the perceived sterility of atonal and 12-tone serial music championed by Schoenberg, Webern and others during the mid-twentieth century. Minimalism led to simplification in some of the more intellectual aspects of music and there was a new interest in harmony, melody, and instrumental textures for their own sake. Philip Glass is a master of this new style and his music reflects so much more than merely Minimalism.
The three works - The Hours, Metamorphosis and Mad Rush - recorded on these two CDs by pianist Valentina Lisitsa all reflect the composer's meditative compositional style in which blocks of melody are created, examined from every conceivable angle to the point of near exhaustion until new elements can create new blocks of melody, with the process repeating itself until it seems as if a self-replicating process has begun. Of course, that is one definition of the biological processes that we call "life" and the parallels seem appropriate.
The music of Philip Glass has an organic quality that operates like a melody engine fed by musical motifs (a usually short succession of musical notes that create a single impression; or a brief melodic or rhythmic formula out of which longer passages can be developed). This organic, living melody engine is significantly more complex and a much more creative process than the name of the genre that is used to categorize it (the "M" word again) would lead you to think. Glass is a master at creating these small elements of melodic germination that power the engine that drives his music.
Lisitsa has the pianistic mastery to convey the composer's ideas with almost effortless grace. She makes it look and sound easy but it really isn't. Glass, like Mozart, is a difficult composer to play partly because the music sounds so simple while so much goes on "under the hood". Lisitsa is a pianist with exceptional control of keyboard dynamics (watch her YouTube video in which she plays the final movement of Beethoven's "Moonlight" Sonata, for an example of her brilliant use of dynamics for expressive purposes). She uses that control to emphasize different blocks of notes as they flow by but always with great subtlety, making the music sound as if it were constantly re-inventing itself, always sounding fresh and new.
Repetition, which is the hallmark of this music, is craftily de-emphasized in Lisitsa's playing by varying its dynamics, volume, velocity and even her playing style at times. Lisitsa's sparkling playing becomes an aspect of the music's creation. Her performances in all three works have some improvisational qualities, another aspect of Minimalism reminiscent of the Classical era (Mozart and Beethoven were renowned as improvisers before they were famous for their compositions). These two CDs are a superb introduction to the piano music of Philip Glass and Valentina Lisitsa is an excellent interpreter of his music. If you're a fan of the composer you'll probably love these discs. Lisitsa is a gifted pianist who appears unafraid of being challenged by new music. She certainly rises to the occasion on these exemplary recordings. Decca's engineers have crafted superb sound: the piano is nicely centered in a well-focused soundstage, its deeply resonant tone abetted by a slight application of reverb. On good systems the piano sounds as if it is in the room with you.
Impressive recordings in all respects.
Track Listings:
Disc: 1
1. Glassworks: Opening
2. Truman Sleeps
3. The Poet Acts
4. Morning Passages
5. How Now
6. Something She Has To Do
7. I'm Going To Make A Cake
8. Olympian: Lighting of the Torch
9. Mad Rush
Disc: 2
1. Dead Things
2. Tearing Herself Away
3. Wichita Sutra Vortex
4. Escape!
5. Choosing Life
6. The Hours
7. Metamorphosis One
8. Metamorphosis Two
9. Metamorphosis Three
10. Metamorphosis Four
11. Metamorphosis Five
12. Mishima: Closing
Valentina Lisitsa
Études - Chopin & Schumann
By Virginia music lover
Not that many pianists record all the Chopin Etudes from Op. 10 and 25. The reason? They're tough to play, tougher to play very well. The Etudes span every mood, from sadness to winter storm to warlike, and were designed to test a pianist's technique and nerve.
Valentina has a lot of serve. She recorded these under the watchful eye of her public, live streaming two days of her sessions. There's no snip and paste here -- at the sessions she played each etude in whole. A knowledgeable producer would discuss the piece with her and off she'd go again. I listened to much of it and the commenters (one of the beauties of live streaming) would consistently say, "Wow, that one's perfect." Frankly, almost every one of her takes would have been recordable. As she has shown in the past, her pieces are played as a whole, keeping a singing line. Her technique is flawless, and her playing is so clear that you can hear the most minor nuance even while there is a whirlwind of notes. She is also a very fast player, but to me she never sounds rushed. Her clarity of technique means that you don't hear a jumble of sounds. I'm open to debate as to whether anyone plays the Etudes better. But I'll be listening to these on my desert island. Remember, the entire body of these is so difficult that Rubinstein never recorded them -- and he is on record as saying some of them were beyond him. Imagine.
The Schumann Symphonic Etudes are likely less familiar to many, but they are masterful (and difficult) works. The gold standard for these works has been Sfronitsky's interpretation, thankfully on You Tube. It is said no one ever played them better, and the works were nicknamed "sofronicheskie etudy." This may rile people but I think Lisitsa's version is better. Naturally, the recording is clearer -- there's a five decade gap in technology (plus Sfronitsky plays live which is often harder to record). But after the quiet opening, check Lisitsa's Tracks 26-27 and Sfronitsky (starting at about 2:30). Lisitsa's fingerwork is more agile, and every bit as lovely. On to the finale -- Lisitsa plays over 30 seconds faster and for the opening bars of the finale it sounds too fast at first listen. But she maintains the tempo and it really makes sense as the piece builds to its climax. When I went back to the Sfronitsky it sounded a little plodding.
One may disagree with the Sfronitsky comparison I made, but (a) at the very least the modern sound is more enjoyable, and (2) she plays the hell out of the Etudes.
Track Listings:
Disc: 1
1. Chopin No.1 In C Major 12 Etudes, Op.10
2. Chopin No.2 In A Minor -Chromatique 12 Etudes, Op.10
3. Chopin No.3 In E Major -Tristesse 12 Etudes, Op.10
4. Chopin No.4 In C Sharp Minor 12 Etudes, Op.10
5. Chopin No.5 In G Flat Black Keys 12 Etudes, Op.10
6. Chopin No.6 In E Flat Minor12 Etudes, Op.10
7. Chopin No.7 In C Major 12 Etudes, Op.10
8. Chopin No.8 In F Major 12 Etudes, Op.10
9. Chopin No.9 In F Minor 12 Etudes, Op.10
10. Chopin No.10 In A Flat Major 12 Etudes, Op.10
11. Chopin No.11 In E Flat Major 12 Etudes, Op.10
12. Chopin No.12 In C Minor Revolutionary 12 Etudes, Op.10
13. Chopin No.1 In A Flat Major- Harp Study 12 Etudes, Op.25
14. Chopin No.2 In F Minor 12 Etudes, Op.25
15. Chopin No.3 In F Major 12 Etudes, Op.25
16. Chopin No.4 In A Minor 12 Etudes, Op.25
17. Chopin No.5 In E Minor 12 Etudes, Op.25
18. Chopin No.6 In G Sharp Minor 12 Etudes, Op.25
19. Chopin No.7 In C Sharp Minor 12 Etudes, Op.25
20. Chopin No.8 In D Flat Major 12 Etudes, Op.25
21. Chopin No.9 In G Flat Major - Butterfly Wings 12 Etudes, Op.25
22. Chopin No.10 In B Minor 12 Etudes, Op.25
23. Chopin No.11 In A Minor Winter Wind 12 Etudes, Op.25
24. Chopin No.12 In C Minor 12 Etudes, Op.25
25. Schumann Theme Symphonic Studies, Op.13
26. Schumann Etude I Symphonic Studies, Op.13 - With repeat
27. Schumann Variation I Symphonic Studies, Op.13 -Appendix - With repeat
28. Schumann Etude II Symphonic Studies, Op.13 -With repeat
29. Schumann Etude III Symphonic Studies, Op.13 -With repeat
30. Schumann Etude IV Symphonic Studies, Op.13
31. Schumann Etude V Symphonic Studies, Op.13 -With repeat
32. Schumann Variation II Symphonic Studies, Op.13 - Appendix
33. Schumann Variation III Symphonic Studies, Op.13 - Appendix - With repeat
34. Schumann Variation IV Symphonic Studies, Op.13 - Appendix - With repeat
35. Schumann Variation V Symphonic Studies, Op.13 -Appendix - With repeat
36. Schumann Etude VI Symphonic Studies, Op.13
37. Schumann Etude VII Symphonic Studies, Op.13
38. Schumann Etude VIII Symphonic Studies, Op.13 -With repeat
39. Schumann Etude IX Symphonic Studies, Op.13
40. Schumann Etude XSymphonic Studies, Op.13 -With repeat
41. Schumann Etude XI Symphonic Studies, Op.13
42. Schumann Etude XII (Finale) Symphonic Studies, Op.13
43. Chopin 3 Nouvelles Etudes No.1 In F Minor
44. Chopin 3 Nouvelles Etudes No.2 In A Flat
45. Chopin 3 Nouvelles Etudes No.3 In D Flat
Track Listings:
Disc: 1
1. Glassworks: Opening
2. Truman Sleeps
3. The Poet Acts
4. Morning Passages
5. How Now
6. Something She Has To Do
7. I'm Going To Make A Cake
8. Olympian: Lighting of the Torch
9. Mad Rush
Disc: 2
1. Dead Things
2. Tearing Herself Away
3. Wichita Sutra Vortex
4. Escape!
5. Choosing Life
6. The Hours
7. Metamorphosis One
8. Metamorphosis Two
9. Metamorphosis Three
10. Metamorphosis Four
11. Metamorphosis Five
12. Mishima: Closing
Valentina Lisitsa
Études - Chopin & Schumann
By Virginia music lover
Not that many pianists record all the Chopin Etudes from Op. 10 and 25. The reason? They're tough to play, tougher to play very well. The Etudes span every mood, from sadness to winter storm to warlike, and were designed to test a pianist's technique and nerve.
Valentina has a lot of serve. She recorded these under the watchful eye of her public, live streaming two days of her sessions. There's no snip and paste here -- at the sessions she played each etude in whole. A knowledgeable producer would discuss the piece with her and off she'd go again. I listened to much of it and the commenters (one of the beauties of live streaming) would consistently say, "Wow, that one's perfect." Frankly, almost every one of her takes would have been recordable. As she has shown in the past, her pieces are played as a whole, keeping a singing line. Her technique is flawless, and her playing is so clear that you can hear the most minor nuance even while there is a whirlwind of notes. She is also a very fast player, but to me she never sounds rushed. Her clarity of technique means that you don't hear a jumble of sounds. I'm open to debate as to whether anyone plays the Etudes better. But I'll be listening to these on my desert island. Remember, the entire body of these is so difficult that Rubinstein never recorded them -- and he is on record as saying some of them were beyond him. Imagine.
The Schumann Symphonic Etudes are likely less familiar to many, but they are masterful (and difficult) works. The gold standard for these works has been Sfronitsky's interpretation, thankfully on You Tube. It is said no one ever played them better, and the works were nicknamed "sofronicheskie etudy." This may rile people but I think Lisitsa's version is better. Naturally, the recording is clearer -- there's a five decade gap in technology (plus Sfronitsky plays live which is often harder to record). But after the quiet opening, check Lisitsa's Tracks 26-27 and Sfronitsky (starting at about 2:30). Lisitsa's fingerwork is more agile, and every bit as lovely. On to the finale -- Lisitsa plays over 30 seconds faster and for the opening bars of the finale it sounds too fast at first listen. But she maintains the tempo and it really makes sense as the piece builds to its climax. When I went back to the Sfronitsky it sounded a little plodding.
One may disagree with the Sfronitsky comparison I made, but (a) at the very least the modern sound is more enjoyable, and (2) she plays the hell out of the Etudes.
Track Listings:
Disc: 1
1. Chopin No.1 In C Major 12 Etudes, Op.10
2. Chopin No.2 In A Minor -Chromatique 12 Etudes, Op.10
3. Chopin No.3 In E Major -Tristesse 12 Etudes, Op.10
4. Chopin No.4 In C Sharp Minor 12 Etudes, Op.10
5. Chopin No.5 In G Flat Black Keys 12 Etudes, Op.10
6. Chopin No.6 In E Flat Minor12 Etudes, Op.10
7. Chopin No.7 In C Major 12 Etudes, Op.10
8. Chopin No.8 In F Major 12 Etudes, Op.10
9. Chopin No.9 In F Minor 12 Etudes, Op.10
10. Chopin No.10 In A Flat Major 12 Etudes, Op.10
11. Chopin No.11 In E Flat Major 12 Etudes, Op.10
12. Chopin No.12 In C Minor Revolutionary 12 Etudes, Op.10
13. Chopin No.1 In A Flat Major- Harp Study 12 Etudes, Op.25
14. Chopin No.2 In F Minor 12 Etudes, Op.25
15. Chopin No.3 In F Major 12 Etudes, Op.25
16. Chopin No.4 In A Minor 12 Etudes, Op.25
17. Chopin No.5 In E Minor 12 Etudes, Op.25
18. Chopin No.6 In G Sharp Minor 12 Etudes, Op.25
19. Chopin No.7 In C Sharp Minor 12 Etudes, Op.25
20. Chopin No.8 In D Flat Major 12 Etudes, Op.25
21. Chopin No.9 In G Flat Major - Butterfly Wings 12 Etudes, Op.25
22. Chopin No.10 In B Minor 12 Etudes, Op.25
23. Chopin No.11 In A Minor Winter Wind 12 Etudes, Op.25
24. Chopin No.12 In C Minor 12 Etudes, Op.25
25. Schumann Theme Symphonic Studies, Op.13
26. Schumann Etude I Symphonic Studies, Op.13 - With repeat
27. Schumann Variation I Symphonic Studies, Op.13 -Appendix - With repeat
28. Schumann Etude II Symphonic Studies, Op.13 -With repeat
29. Schumann Etude III Symphonic Studies, Op.13 -With repeat
30. Schumann Etude IV Symphonic Studies, Op.13
31. Schumann Etude V Symphonic Studies, Op.13 -With repeat
32. Schumann Variation II Symphonic Studies, Op.13 - Appendix
33. Schumann Variation III Symphonic Studies, Op.13 - Appendix - With repeat
34. Schumann Variation IV Symphonic Studies, Op.13 - Appendix - With repeat
35. Schumann Variation V Symphonic Studies, Op.13 -Appendix - With repeat
36. Schumann Etude VI Symphonic Studies, Op.13
37. Schumann Etude VII Symphonic Studies, Op.13
38. Schumann Etude VIII Symphonic Studies, Op.13 -With repeat
39. Schumann Etude IX Symphonic Studies, Op.13
40. Schumann Etude XSymphonic Studies, Op.13 -With repeat
41. Schumann Etude XI Symphonic Studies, Op.13
42. Schumann Etude XII (Finale) Symphonic Studies, Op.13
43. Chopin 3 Nouvelles Etudes No.1 In F Minor
44. Chopin 3 Nouvelles Etudes No.2 In A Flat
45. Chopin 3 Nouvelles Etudes No.3 In D Flat
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