A Grand Romance (CD review)

Jeffrey Biegel, piano. Steinway & Sons 30017.

According to my count, A Grand Romance would be the third album that composer, arranger, pianist, and Steinway recording artist Jeffrey Biegel has made for Steinway & Sons, following Bach on a Steinway (2010) and A Steinway Christmas Album (2011). On this current disc, we find a collection of short, Romantic piano pieces, described on the record jacket as celebrating “the intimacy of the relationship between pianist and public. Penned by composers who were highly accomplished keyboardists themselves, it represents a genre of pianism unashamed of sentiment, frill and facility, and luxuriating in the expressive sophistication of the instrument and the wooing of the crowd.” Well, woo it does, as Mr. Biegel’s piano practically makes one swoon in delight. It’s a charming bit of piano playing.

Also important, perhaps, is the fact that Mr. Biegel has chosen sixteen pieces of music from the Romantic repertoire that pianists these days haven’t overplayed or over recorded. In general, I don’t usually care for albums made up of bits and pieces of stuff, but when so much of the material here is both so pleasurable and relatively unknown, and, of course, so well performed, it makes for a good listen, one I hope to repeat often.

Things begin with the Caprice espagnol by Moritz Moszkowski (185401925). It’s a work that begins the show as a zesty curtain-raiser and then settles down into a sweet dance tune. The music offers a good example of Biegel’s versatility in handling passages of virtuosic intensity and restrained lyricism.

Following the Caprice is a delicate waltz (you can hear a bit of it below) called A la bien-aimee (“To My Beloved”) by Eduard Schutt (1858-1934). It’s lovely.  Shortly thereafter, we find the Nocturne in B-flat major by Ignacy Jan Paderewski ((1860-1941). This Nocturne is particularly affecting, with a gently nuanced performance by Mr. Biegel.

And so it goes, Biegel alternating slower and quicker numbers as the program proceeds. Further works by Henselt, Cui, Bortkiewicz, Schlozer, Levitzki, Sgambati, and Chasins continue in a similar vein. An especially enchanting one is the tone poem Reve angelique (“Angelic Dream”) by Anton Rubinstein (1829-1894). Another one is Arabesques on “The Blue Danube” by Adolf Andrei Schulz-Evler. It’s a melodious little piece (and it’s the longest work on the album at a little over ten minutes), and as always Mr. Biegel manages it with a deft hand (and with what appear to be about 800 deft fingers).

This is high Romanticism at its more winning and most engaging. To complement the music, Jeffrey Biegel’s pianism is both comfortable and dazzling.

Producer Dan Merceruio and engineer Daniel Shores recorded A Grand Romance in July, 2012, at Sono Luminus studios, Boyce, Virginia. The piano appears miked relatively closely and produces a big, rich, robust effect. It does not, however, spread clear across the room but stays a realistic size, well centered and occupying maybe half the space between one’s speakers. You’ll also note a pleasantly warm ambience that adds to the verisimilitude of the occasion.

To listen to a brief excerpt from this album, click here:


No comments:

Post a Comment

John J. Puccio

John J. Puccio

About the Author

Understand, I'm just an everyday guy reacting to something I love. And I've been doing it for a very long time, my appreciation for classical music starting with the musical excerpts on The Big John and Sparkie radio show in the early Fifties and the purchase of my first recording, The 101 Strings Play the Classics, around 1956. In the late Sixties I began teaching high school English and Film Studies as well as becoming interested in hi-fi, my audio ambitions graduating me from a pair of AR-3 speakers to the Fulton J's recommended by The Stereophile's J. Gordon Holt. In the early Seventies, I began writing for a number of audio magazines, including Audio Excellence, Audio Forum, The Boston Audio Society Speaker, The American Record Guide, and from 1976 until 2008, The $ensible Sound, for which I served as Classical Music Editor.

Today, I'm retired from teaching and use a pair of bi-amped VMPS RM40s loudspeakers for my listening. In addition to writing the Classical Candor blog, I served as the Movie Review Editor for the Web site Movie Metropolis (formerly DVDTown) from 1997-2013. Music and movies. Life couldn't be better.

Mission Statement

It is the goal of Classical Candor to promote the enjoyment of classical music. Other forms of music come and go--minuets, waltzes, ragtime, blues, jazz, bebop, country-western, rock-'n'-roll, heavy metal, rap, and the rest--but classical music has been around for hundreds of years and will continue to be around for hundreds more. It's no accident that every major city in the world has one or more symphony orchestras.

When I was young, I heard it said that only intellectuals could appreciate classical music, that it required dedicated concentration to appreciate. Nonsense. I'm no intellectual, and I've always loved classical music. Anyone who's ever seen and enjoyed Disney's Fantasia or a Looney Tunes cartoon playing Rossini's William Tell Overture or Liszt's Hungarian Rhapsody No. 2 can attest to the power and joy of classical music, and that's just about everybody.

So, if Classical Candor can expand one's awareness of classical music and bring more joy to one's life, more power to it. It's done its job.

Contact Information

Readers with polite, courteous, helpful letters may send them to pucciojj@gmail.com.

Readers with impolite, discourteous, bitchy, whining, complaining, nasty, mean-spirited, unhelpful letters may send them to pucciojj@recycle.bin.

"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa