Stravinsky: Solo Piano Works (CD review)

Jenny Lin, piano. Steinway & Sons 30028.

My guess is that most folks know Russian-born composer, pianist, and conductor Igor Stravinsky (1882-1971) mainly as a writer of avant-garde scores, primarily ballets, that helped change the course of modern music. Yet he was much more diverse than that, turning in later life first to a more-traditional, neoclassical style and then to the technique of serialism. And along the way he produced a number of short piano works, things that often go overlooked nowadays. Which is probably why pianist Jenny Linn assembled this album of Stravinsky piano pieces. It's a nice reminder of the man's highly diversified compositional talents.

Incidentally, for those few of you unfamiliar with Ms. Lin, she is a Taiwanese-born American pianist of many talents herself. She began studying piano when she was four, went to the National Cathedral School in Washington, D.C., and then to the Peabody Conservatory of Music in Baltimore. She received an Artist Diploma from Peabody and a bachelor's degree in German Literature from the Johns Hopkins University. After that, she moved to Geneva, Switzerland, to study with the pianist Dominique Weber, since then also working with Richard Goode, Blanca Uribe, Leon Fleisher, Dimitri Bashkirov, and Andreas Staier. For the past few decades she has performed in practically every major venue in the world and produced numerous record albums.

So, here Ms. Lin plays Stravinsky, and it's really quite a bit more fun than you might imagine. Or maybe, given that any music by Stravinsky can be fun, you expected that. And given Ms. Lin's often daring programming, you imagined it would be fun from the start. Anyway, it is. She begins with Stravinsky's Piano Sonata of 1924 and runs on through eleven more items, concluding with Guido Agosti's 1928 piano transcription of the composer's Firebird Suite. In between, we find any number of varied and engaging pieces, of which I'll just describe a few.

Oddly enough, by the way, even though I know Ms. Lin's name well enough, I had never actually heard her play until reviewing this disc. She is very persuasive (and, certainly, the material is). She plays with grace and sensitivity, yet with power and authority, too, all the while displaying a virtuosic command of the keyboard.

So, she begins with the Sonata, which is in a traditional three movements and a kind of neoclassical style. But because it's Stravinsky, there are some delightful surprises along the way. The Sonata may be slightly lightweight fare for Stravinsky, but it's really quite charming, especially the middle Adagietto section, with its classical overtones. It's also quite brief, and Ms. Lin plays it with a hint of playfulness.

Jenny Lin
Four études come next, which are also quite brief. But Ms. Lin keeps them rhythmically alive and surprisingly lyrical and melodious as the case may be.

Then, Ms. Lin amuses us with some even lighter pieces: Ragtime (with little of Scott Joplin involved because Stravinsky said he had not actually heard any ragtime music, only read the sheet music). Still, it's definitely ragtime, particularly as Lin plays it. A polka, tango, waltz, and more ragtime follow, and they, too, are lightheartedly entertaining, while still showing imaginative touches that only a composer of Stravinsky's creativity might add. Ms. Lin displays an affection for the music, and one cannot help enjoying its sweet spirit (and the waltz's sweet lilt).

The Serenade in A is one of the longer works on the program, four movements patterned after classical "nachtmusik," mostly gentle and serene, the penultimate movement a touch more rowdy than the others. Again, we hear an elegant interpretation from Lin.

Stravinsky wrote Circus Polka for the Ringling Brothers and Barnum and Bailey Circus in 1942 as a ballet for elephants. Later, human dancers would perform it. Expect more lightweight fun here, which Ms. Lin is quick to exploit in a charming piece.

After a couple of other selections, the program ends with Guido Agosti's piano transcription of three movements from the Firebird Suite. Here, Ms. Lin has a chance to show off her dexterity, power, and composure in one place. Hers is an exciting yet surprisingly poetic reading. Or perhaps not so surprising given all that went before.

Overall, this is a lovely, revealing recital, presented by an artist at the peak of her form.

Producer Dan Mercuruio and engineer Daniel Shores recorded Ms. Li at Sono Luminus Studios, Boyce, Virginia in June 2013. The equipment they used includes a Metric Halo ULN-8 audio processor and DPA 4006 microphones, and the piano Ms. Lin plays is a Steinway Model D #590904. The piano sound is at once warm and detailed, realistically rich and resonant. It's a pleasant, lifelike affair, set in a most-natural sounding environment. Well, to be fair, we wouldn't have expected anything less from Sono Luminus Studios.

JJP

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


Meet the Staff

Meet the Staff
John J. Puccio, Founder and Contributor

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 Jon 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 for 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.

Karl Nehring, Editor and Contributor

For more than 20 years I was the editor of The $ensible Sound magazine and a regular contributor to both its equipment and recordings review pages. I would not presume to present myself as some sort of expert on music, but I have a deep love for and appreciation of many types of music, "classical" especially, and have listened to thousands of recordings over the years, many of which still line the walls of my listening room (and occasionally spill onto the furniture and floor, much to the chagrin of my long-suffering wife). I have always taken the approach as a reviewer that what I am trying to do is simply to point out to readers that I have come across a recording that I have found of interest, a recording that I think they might appreciate my having pointed out to them. I suppose that sounds a bit simple-minded, but I know I appreciate reading reviews by others that do the same for me — point out recordings that they think I might enjoy.

For readers who might be wondering about what kind of system I am using to do my listening, I should probably point out that I do a LOT of music listening and employ a variety of means to do so in a variety of environments, as I would imagine many music lovers also do. Starting at the more grandiose end of the scale, the system in which I do my most serious listening comprises Marantz CD 6007 and Onkyo CD 7030 CD players, NAD C 658 streaming preamp/DAC, Legacy Audio PowerBloc2 amplifier, and a pair of Legacy Audio Focus SE loudspeakers. I occasionally do some listening through pair of Sennheiser 560S headphones. I miss the excellent ELS Studio sound system in our 2016 Acura RDX (now my wife's daily driver) on which I had ripped more than a hundred favorite CDs to the hard drive, so now when driving my 2022 Accord EX-L Hybrid I stream music from my phone through its adequate but not outstanding factory system. For more casual listening at home when I am not in my listening room, I often stream music through the phone into a Vizio soundbar system that has tolerably nice sound for such a diminutive physical presence. And finally, at the least grandiose end of the scale, I have an Ultimate Ears Wonderboom II Bluetooth speaker for those occasions where I am somewhere by myself without a sound system but in desperate need of a musical fix. I just can’t imagine life without music and I am humbly grateful for the technology that enables us to enjoy it in so many wonderful ways.

William (Bill) Heck, Webmaster and Contributor

Among my early childhood memories are those of listening to my mother playing records (some even 78 rpm ones!) of both classical music and jazz tunes. I suppose that her love of music was transmitted genetically, and my interest was sustained by years of playing in rock bands – until I realized that this was no way to make a living. The interest in classical music was rekindled in grad school when the university FM station serving as background music for studying happened to play the Brahms First Symphony. As the work came to an end, it struck me forcibly that this was the most beautiful thing I had ever heard, and from that point on, I never looked back. This revelation was to the detriment of my studies, as I subsequently spent way too much time simply listening, but music has remained a significant part of my life. These days, although I still can tell a trumpet from a bassoon and a quarter note from a treble clef, I have to admit that I remain a nonexpert. But I do love music in general and classical music in particular, and I enjoy sharing both information and opinions about it.

The audiophile bug bit about the same time that I returned to classical music. I’ve gone through plenty of equipment, brands from Audio Research to Yamaha, and the best of it has opened new audio insights. Along the way, I reviewed components, and occasionally recordings, for The $ensible Sound magazine. Most recently I’ve moved to my “ultimate system” consisting of a BlueSound Node streamer, an ancient Toshiba multi-format disk player serving as a CD transport, Legacy Wavelet II DAC/preamp/crossover, dual Legacy PowerBloc2 amps, and Legacy Signature SE speakers (biamped), all connected with decently made, no-frills cables. With the arrival of CD and higher resolution streaming, that is now the source for most of my listening.

Ryan Ross, Contributor

I started listening to and studying classical music in earnest nearly three decades ago. This interest grew naturally out of my training as a pianist. I am now a musicologist by profession, specializing in British and other symphonic music of the 19th and 20th centuries. My scholarly work has been published in major music journals, as well as in other outlets. Current research focuses include twentieth-century symphonic historiography, and the music of Jean Sibelius, Ralph Vaughan Williams, and Malcolm Arnold.

I am honored to contribute writings to Classical Candor. In an age where the classical recording industry is being subjected to such profound pressures and changes, it is more important than ever for those of us steeped in this cultural tradition to continue to foster its love and exposure. I hope that my readers can find value, no matter how modest, in what I offer here.


Bryan Geyer, Technical Analyst

I initially embraced classical music in 1954 when I mistuned my car radio and heard the Heifetz recording of Mendelssohn's Violin Concerto. That inspired me to board the new "hi-fi" DIY bandwagon. In 1957 I joined one of the pioneer semiconductor makers and spent the next 32 years marketing transistors and microcircuits to military contractors. Home audio DIY projects remained a personal passion until 1989 when we created our own new photography equipment company. I later (2012) revived my interest in two channel audio when we "downsized" our life and determined that mini-monitors + paired subwoofers were a great way to mate fine music with the space constraints of condo living.

Visitors that view my technical papers on this site may wonder why they appear here, rather than on a site that features audio equipment reviews. My reason is that I tried the latter, and prefer to publish for people who actually want to listen to music; not to equipment. My focus is in describing what's technically beneficial to assure that the sound of the system will accurately replicate the source input signal (i. e. exhibit high accuracy) without inordinate cost and complexity. Conversely, most of the audiophiles of today strive to achieve sound that's euphonic, i.e. be personally satisfying. In essence, audiophiles seek sound that's consistent with their desire; the music is simply a test signal.

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. --John J. Puccio

Contact Information

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

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

"Their Master's Voice" by Michael Sowa

"Their Master's Voice" by Michael Sowa