Balkan Piano Music Unified in Quality

The core of the classical repertoire is centered in Western Europe -- Germany, Austria, Italy, and France. But every European country has a strong classical music tradition. And often that tradition adapts the genre in fresh and interesting ways. 

This release samples piano music from the countries that make up the Balkans. And what a rich and varied sampling it is!

Volume one features composers from Albania, Bosnia and Herzegovina, Bulgaria, Croatia, Greece, Kosovo, North Macedonia, Montenegro, Kosovo, Serbia, and Slovenia. The music is as diverse as the language and customs of the regions.

Pancho Vladigerov is considered the father of Bulgarian classical music. His 1941 Improvisation No. 4, Op. 36 anticipates the sound of post-war Errol Garner. By contrast, Serbian Milan Mihajlović's "Three Preludes" have a sparse, atonal sound.  

Dusan Bavdek is from Slovenia. His "Awakening" shows minimalist influence with its repeated and shifting patterns. Kosovar Faret Rudi draws on folk traditions for his work "Les cloches Arberesh." And I could go on. Ten composers from ten different countries with ten different approaches to music. And each one is well-written.

Amir Xhakovig delivers each work on its own terms. His performances highlight the differences -- and the commonalities -- between these pieces. Each country is represented by a single composer. And we know each country has many, many more composers of equal talent to these. 

This is a series worth exploring. I was familiar with Vladigerov through his orchestral music on Capriccio. But the rest were unknown. I'm grateful for the introductions. This is fine music, indeed. 

The Balkan Piano, Volume One
Amir Xhaoviq, piano
Toccata Classics TOCN 0034

African Pianism: Volume 2 - Still much to explore

I'm sorry I missed volume one of this series. Not to worry. After auditioning this release, I went back and picked up a copy. Volume Two continues Rebeca Ormordia's exploration of African piano music. 

There's a lot to explore. Africa is a large continent with many cultures and many musical traditions. In some cases, Western classical traditions provide the frame for African musical gestures. For others, African thumb piano music are translated into Western piano technique. 

An example of the latter is "Cry of Joy" by Ethiopian composer Yifrashewa Girma. It's a fascinating work that sounds fresh and vibrant on the modern piano. 

Salim Dada uses the other approach. Traditional Algerian motifs are used in this Debussy-inspired suite. "Miniatures Algeriennes" has authenticity. It's an authenticity Western composers' "oriental" music misses. 

Benabdeljalil Nabil has four works on the album. This Moroccan composer is concerned with "the poetic essence of musical expression." There are almost no folk elements here, nor obvious Western traditions. Rather, these works truly express the ideas of a creative individual -- Benabdeljalil. 

Nigerian composer Akin Eurba has three selections from his "Study in African Pianism." Here the blend of African and Western European traditions seems perfectly balanced. 

Omordia includes a few outliers, too. Florence Price's "Negre in E minor" is one. The music shows traces of African traditions but filtered through African-American culture.

Rebeca Omordia is a tremendous musician. She makes every work sound simple and natural. 

If nothing else, this release shows how varied African classical music is. This could well be an open-ended series. I suspect there are more truly great African piano music awaiting international discovery. 

African Pianism, Volume 2
Rebeca Omordia, piano
SOMM Recordings SOMM 0688

Amazing Miniatures by Janis Kepitis Ripe for Discovery

Jānis Ķepītis was concertmaster for Latvian Radio from 1934 through 1952. And he was on the faculty of the Latvian State Conservatory from the end of World War II until his death in 1984. He taught Chamber Ensemble and was beloved by his students. 

Keiptis was also a prolific composer. And despite the quality of his work,  his fame remained within the borders of Latvia. His work included six symphonies, two operas, and many chamber works. 

This release focuses on an even larger and less-explored portion of Kepitis' music. 

Kepitis wrote hundreds of short solo piano music, many that were never published. Keiptis lived in a Soviet-controlled Latvia. And music was as tightly controlled as all other forms of expression. Since his piano music was never published, it never had to be vetted by the authorities. 

Perhaps for that reason, there's an honesty to these works that comes through time and again. These are simply well-crafted pieces written for the sheer joy of creation.

Nora Luse plays with sympathy and enthusiasm. These may be small pieces, but she takes them seriously. And in the process reveals some marvelous miniatures of beauty. I'm looking forward to the next installment.

Janis Kepitis: Piano Miniatures from the Manuscripts, Volume One
Nora Luse, piano
Toccata Classics

Marc Ponthus' Masterful Beethoven and Stockhausen

I'm of two minds about this release. The playing -- and the recording -- is first-rate. Marc Ponthus' skill and musicality deliver performances full of vitality. 

Beethoven's Hammerklavier Sonata is a Mount Everest for pianists. It's incredibly challenging to play. And it's almost as challenging to make sense of. There is an underlying structure and logic to the work. But it's not readily discernable as it is in, say, a Mozart sonata. 

The same can be said for Stockhausen's Klavierstücke X. It's derived from a number square Stockhausen developed. This square controls various aspects of the composition process. In this work, he also used a system of seven: chord clusters of 1-7 notes; action/rest durations, note values (1-7), etc.

Both are quite complex pieces. Ponthus has invested a great deal of time in the study and analysis of these works. And it was time well spent. I was particularly struck by his performance of Klavierstücke X. Ponthus instilled a sense of purpose in his playing. 

Superficially the work can sound wild and chaotic. But Ponthus is in control. He knows the function of every note, and how it fits into the structure of the work. With repeated listening, I began to hear hints of that structure, too. 

The Hammerklavier is the more traditional Ultimate Piano Sonata. Many virtuosi have performed and recorded it. Ponthus' interpretation goes beneath the surface. He makes connections between motives that are sometimes surprising. But logical in retrospect. 

I enjoyed this recording very much. But the liner notes, not so much. I appreciate Ponthus for trying to explain how he arrived at his interpretations. And I know it's difficult to talk about music in a non-musical setting (like text). 

But the entire essay is filled with sentences like this: 

"These two works are so concentrated and charged with deeply organic forces that they stand on their own. relatively detached from their creators, as they demand a level of engagement from both performer and listener that results in experiences of appropriation and unanticipated significance, in taxing perceptions and effects, and in the breakthrough into metaphysics."

Holy moly. That's a lot baggage to saddle any piece of music with. Sorry, these performances were thrilling. But I never broke through into the metaphysical world. I'm sympathetic to what Ponthus was trying to articulate. But my advice is this. Play the album, don't read the booklet. These works can speak for themselves.       

Ludwig van Beethoven: Hammerklavier Sonata Op. 106
Karlhenz Stockhausen: Klavierstücke X
Marc Ponthus, piano
Bridge Records 9584

Hyacinthe Jadin Piano Sonatas Build on Haydn

Hyacinthe Jadin certainly packed a lot of living into his 24 short years. This French composer and pianist published his first work at age nine. At sixteen he was assistant rehearsal pianist at the Theatre Feydeau. By nineteen he was on the faculty of the Paris Conservatoire, teaching piano. 

The bulk of Jadin's compositions centered around the piano. Among them were six collections of piano sonatas. This release features the last three of the series. They were published between 1795 and 1800 (the year of Jadin's death). 

These works have the balance and elegance of Classical Era works. In a sense, they emulate Haydn and early Mozart. But they're also more developed than those models. 

Jadin was a virtuoso performer. These works place a lot of demands on the player. His use of the sonata form is effective and organic. That is, he doesn't treat it as a framework to fill in. Rather, he gives each part its own dramatic weight. This leads the music from one part to the next, in a logical and seamless flow of ideas. 

Marek Toporowski performs on a modern reproduction of an Anton Walter pianoforte. This was Mozart's preferred instrument. I normally don't like recorded pianofortes. The action can be quite noisy. Some have a tinny, slightly out-of-tune sound as well. 

Not so here. You won't mistake the sound for that of a grand piano -- or even a baby grand. But the hammers strike the strings cleanly and silently. There's nothing to detract from the sound of the music. 

Toporowski plays these works with great refinement. He shapes the phrases with subtilty. And his technical skills make even the most complex runs sound simple and elegant. 

A fascinating and enjoyable recording. 

Hyacinthe Jadin: Piano Sonatas, Op. 4-6
Marek Toporowski, fortepiano
Brilliant Classics 96958
2 CD Set

Mengyiuyi Chen Performs Mel Bonis with Subtlety

Mélanie Bonis was a talented pianist and composer. At age 16 she attended the Paris Conservatory. While there, she studied with César Franck. She attended classes with  Gabriel Pierné and Claude Debussy. 

It's significant that Debussy was her classmate. I'd describe Bonis' music as Debussy-adjacent. Much of it has the Impressionist aesthetic. 

Harmonies are sometimes vague and don't suggest motion to a climax. Her melodies aren't foursquare, but flowing. Phrases are as long -- or as short -- as they need to be. 

The selections in this release span Bonis' career. Bonis published her Mazurka, Op. 26 when she was in her late 20s. Her Transcription of Faure's "Claire de Lune" was done in 1933, four years before her death. 

There's a remarkable consistency to Bonis' style across the decades. Over time the influence of Impressionism faded only slightly. And her work is consistent in its quality. 

Pianist Mengyiuyi Chen performs admirably. Bonis requires a certain degree of subtlety, and Chen has it. Phrasing is often nuanced rather than fully articulated. Her use of the pedal is strategic and effective. 

Bonis wrote about 150 works for solo piano. There's a lot to choose from for volume two! 

Mel Bonis: Complete Music for Solo Piano, Volume One
Mengyiuyi Chen, piano
Toccata Classics TOCC 0361

Myron Silberstein Masters Creston's Rhythmicons

Paul Creston's heyday was the immediate postwar period. Through the 1960s, he was one of the most frequently performed American composers. And with good reason. 

Creston was a self-taught composer, who never fully abandoned late-Romantic tonality. And yet his fascination with rhythm took his music in new directions. 

Creston was also a pianist and organist. His most enduring works may be his concertos for marimba and alto saxophone.  

But some of his most interesting are for the piano. As this new album demonstrates. 

Creston's exploration of rhythm led to a series of piano works he termed "Rhythmicons." He published ten volumes of these rhythmic etudes. And each volume was more complex than the previous. Myron Silberstein presents the final four volumes, each piece in sequence. 

This allows the listener to hear the development as the series progresses. At the same time, it shows the impressive variety of music Creston created for this project. Some of these pieces are quite serious, a few bordering on the academic. 

But then there are pieces like the Psychedelic Waltz (No. 118), Jaunty James (No. 116), and Secret Game (No. 110). They're all light-hearted, and good fun -- if you have the chops to play them. 

Myron Silberstein does. He delivers on technique and musicality. All the notes are there. The complex rhythms and complex cross-rhythms are played with metronome accuracy. But he also plays with emotion. 

These pieces don't sound like formal exercises. They sound like spontaneous creations of music. And that's really the point. Creston wasn't an academic. He was a natural and spontaneous composer at heart. And that's the quality Silberstein conveys in this recording. 

If you only know Creston through his greatest hits, give this album a listen. It furthered my appreciation for this American genius. It may do the same for you. 

Paul Creston: Piano Music
Three Narratives; Rhythmicon, Vols. 7-10
Myron Silberstein, piano
Toccata Classics TOCC 0674

Tra Ngyuen Excels with Borenstein Piano Works

I first became aware of Tra Nguyen through her traversal of Joachim Raff's piano music. Her exceptional technique and nuanced reading of Raff's music made me a fan. I wondered what she would do next. After auditioning this release, I think it's the next logical step. 

Borenstein writes in what I would call an accessible post-tonal style. That is, his music is tonal, but it's not hemmed in. Modern ears are comfortable with harmonic progressions and key relationships that were last century no-nos. Borenstein's music has a natural flow to it.

And his use of tonality makes his compositions extremely accessible. I would almost say welcoming to the listener. It's a mystery why his music is so in demand. 

One of Borenstein's style characteristics is his use of polyrhythms. Come to think of it, it was one of Raff's signature gestures, too. Nguyen takes the right approach to them. She plays the polyrhythms with precision. We hear the intended tension between the patterns. At the same time, she plays them expressively, giving them a melodic purpose. 

Most of the works receive their world recording premiere with this release. Nguyen's playing is first-rate. She delivers exciting, engaged performances. They made me want to revisit this release time and again. 

Highly recommended, both for the quality of the music, and the quality of the performances. Nguyen wrote that Borenstein's music was "inspirational and rewarding." I can hear it in her playing. 

Nimrod Borenstein: Piano Works
Tra Nguyen, piano
Grand Piano GP851

José F. Vásquez Impressions for Piano Impressive

During his lifetime, José F. Vásquez (1896-1961) was a major figure in Mexican classical music. As a teacher, he founded the Escuela Libre de Música, still in operation. He also founded the Music Department at the University of Mexico. 

As a conductor, he led the University's orchestra (which he also founded). He enjoyed an international career as a conductor. 

And Vásquez composed over 200 works. His catalog included five symphonies, three piano concertos, two violin concertos, and eight operas. And after his death, most of it vanished. I couldn't find many details.  But Vásquez's manuscripts were scattered to the four winds after his death. 

His son has spent the last four decades tracking down his father's music. And as he recovers it, we'll have more recordings like this.

Vladimir Curiel performs all five series of Impressions by Vásquez. Not much is known about these works. He composed all five series (as they're called) in the 1920s. Each piece seems to be a test case. Vásquez starts with a concept and then works through it over the course of a 3-5 minute piano piece.

But don't think these are experiments. Each one is a finely crafted gem. Vásquez shows great imagination. His treatment of his themes varies from piece to piece. For the most part, these seem to be simple pieces to play. But there's a subtly in their simplicity. 

Curiel plays with sympathetic expression and delicate musicality. And it works. I was entranced by the opening track. And the music retained its hold on me throughout the recording. 

These are beautiful miniatures that would benefit any piano program. I'm hoping there are more Vásquez recordings in store. He had a talent that deserves to be celebrated. 

José F. Vásquez: The Complete Impressions for Piano
Vladimir Curiel, piano
Toccata Classics TOCC 0693

Ian Hobson Continues Fine Moskzkowski Series

For this installment of Moskowski piano works, Ian Hobson opts for some early pieces. The music presented provides insight into Moskowski's development as a composer. And they also entertain (as was their purpose). 

The Six Piano Pieces, Op. 15 are charmers. This is salon music, but it's of the highest quality. Moskowski delivers on expectations without resorting to cliche.

 The Five Piano Pieces, Op. 18 are similar in character. The debt to Mendelssohn and Schumann is obvious. And that's fine. While they're no masterworks, these little pieces beguile the ear. And that makes for an enjoyable listen. 

The Three Piano Pieces in Dance Form, Op. 17 are a different matter. Here the influence seems to be Franz Liszt. Amateurs could play music from the other two sets. These pieces require a higher degree of skill. And the music is more advanced as well. Moskowski takes time to develop his themes. 

Ian Hobson plays admirably. I was especially impressed with his performances of the Three Piano Pieces in Dance Form. I felt that Moskowski loosened the reigns on his compositional imagination. And Hobson is right there with him, giving these works the committed performances they need. 

Moskowski was a virtuoso pianist, so he wrote a lot of piano music. There are definitely more volumes to come! I look forward to hearing them. 

Moritz Moskzkowski: Complete Music for Solo Piano, Volume Two
Ian Hobson, piano
Toccatta Classics, TOCC 066

Czerny Anleitung zum Fantasieren a unique recording

This is kind of an odd release. The music here is invaluable. As a listening experience, it can be problematic. But if you're open to it, also a rewarding one. 

Carl Czerny's Op. 200 is titled a Systematic Introduction to Improvisation on the Pianoforte. It's a practical how-to manual. In it, Czerny lays out multiple examples of how to improvise. There are sections on concerto cadenzas, fugue improvisation, free-form capriccios, and more. 

A performer could use this work to understand the mechanics of improvisation. And then adapt Czerny's examples to the music they wanted to improvise around. 

So how is this as a listening experience? An unusual one, at least for me. Each musical example is self-contained. So each entry has its own beginning, middle, and end. Individually, each entry is quite appealing musically. 

Kolja Lessing wisely mixes up the selections rather than playing them in sequence. This provides contrast and gives the release a natural ebb and flow. 

Still, it's a recording I'd recommend sampling from. Like eating popcorn, there's a point where it's no longer satisfying. 

Lessing is an excellent performer. He delivers each example with a blend of technical proficiency and dramatic showmanship. 

If you want insight into the artistry of the 19th Century virtuoso, this disc is for you. It's also for anyone who enjoys short, showy piano pieces. Like me. 

Carl Czerny: Anleitung zum Fantasieren op. 200
Kolja Lessing, Piano
CPO
2 CD Set

Florence Price Piano Music a Major Discovery

Florence Price's music was mostly ignored when she composed it. Now, however, the works of this African-American artist are being reevaluated. And performed. And recorded. But it almost didn't happen at all. 

Many of Price's manuscripts were considered lost after her sudden death in 1953. In 2009, her abandoned summer home was under renovation. The workers uncovered a good deal of them. Rescued were Price's two violin concertos and her fourth symphony. Also recovered were several piano works. 

As Josh Tatsuo Cullen explains, this find was significant. Some of the pieces on this release have never been heard. Others were only known in incomplete sets or early manuscripts. This album is a major addition to Price's catalog. 

Price attended the New England Conservatory of Music. Her works are steeped in Western classical traditions. And, they're also infused with the music of Price's heritage.

At first blush, her 1928 "Scenes in Tin Can Alley" may sound like George Gershwin. The syncopations and harmonies Price uses come from the rural South, not New York. There's a cultural subtext here that's missing in Gershwin's work.

The pieces in "Thumbnail Sketches of a Day in the Life of a Washerwoman" and "Village Scenes" all have picturesque titles. They show Price's attention to the details of everyday life. And especially of those who were mostly invisible to the public. 

To me, the five Preludes perfectly synthesize African-American music and classical traditions. You might think they resemble George Gershwin's Preludes, but they don't. Playing them back-to-back the differences between Price's and Gershwin's jazz roots become obvious.

Josh Tatsuo Cullen performs with spirit and sensitivity. His liner notes confirm his deep connection to these works. And it's a connection one can hear. 

Yes, Price's orchestral works are important. But she was a pianist and organist of the highest caliber. This album shows that her keyboard music is also worthy of attention.  

Scenes in Tin Can Alley
Piano Music of Florence Price
Josh Tatsuo Cullen, piano
Blue Griffen BGR615

Benjamin Carr Piano Music - American Through and Through

It's easy to forget that American classical music didn't begin in the mid-20th Century. Europeans brought their musical traditions with them to the new continent. After the American Revolution, some composers worked to develop a new style of music for their new nation. Benjamin Carr was one such pioneer.

Carr was born in London and studied organ with Charles Welsley. He immigrated to American in 1793. He settled in Philadelphia and set to work creating a musical empire. 

Carr was organist and choirmaster at two of the city's largest churches. He gave music lessons and established one of America's earliest music publishing houses. He organized and conducted concerts. And he wrote music -- a lot of music.

This release collects hours of Carr's piano pieces. It presents a snapshot of life in the Federalist Period. Most of Carr's compositions were for amateurs. As in England, genteel American families had a pianoforte in their homes. Playing the instrument was an important skill for middle and upper-class young ladies. 

Although the music may be simple, it's not simplistic. In his six sonatinas, for example, Carr develops his material as skillfully as Haydn. (It's no accident they resemble Haydn's piano sonatas). 

The Preludes, Op. 13 present some challenges for the player. They sound as if Carr transcribed them from his famed organ improvisations. They may have been inspired by Bach, but I'd say it's likely Carl Philipp rather than Johann Sebastian. 

Carr was looking for an American style. Often he incorporated American tunes into his music. His most popular work, the Federal Overture used "Yankee Doodle" as a starting point. It also mixes in other tunes of the day, such as "Oh Dear, What Can the Matter Be." 

"Yankee Doodle, An Original American Air with Variations" takes the tune through some innovative changes. I think this would make a great companion piece to Charles Ives' "Variations on America."

Kirsten Johnson has done an in-depth study of American music. Her catalog includes recordings of piano music by Arthur Foote, Amy Beach, and James Hewitt (one of Carr's contemporaries). She understands the style and the creative drive behind Carr's music. 

This might not be a release to listen to from start to finish. But every piece has its own delights. I recommend dipping into this treasury time and again. This is real American music by a real American! Sure, he was an immigrant, but that's part of the American character, too.   

Benjamin Carr: Piano Music
Kirsten Johnson, piano
Centaur CRC 3862-65
Four CD set