By Karl W. Nehring
Beethoven: Variations. Angela Hewitt, piano. Hyperion CDA68346.
You’ve got to love the quote from Beethoven that kicks off
the liner notes for this new release by the wonderful Canadian pianist Angela
Hewitt (b. 1958): “That piece of folly mine? Oh Beethoven, what an ass you were
in those days!” Old Ludwig was referring to a set of piano variations that he
had heard a friend playing, music that he did not recognize that young Ludwig
had composed back in 1806, the year he had also composed his more memorable Fourth
Symphony and Violin Concerto. These 32 Variations on an original
theme in C minor comprise the opening set of variations on this
entertaining release, the final recording Ms. Hewitt was able to make on her
beloved Fazioli piano, which was accidentally destroyed when it was dropped by
piano movers early in 2020 (she later that year acquired a replacement
Fazioli). There are six other sets of variations on this release, the longest
and most notable being the 15 Variations and a fugue on an original theme
‘Eroica,’ more commonly referred to as “The Eroica Variations,” but
probably the most recognizable – even hummable, for that matter – music appears
in the final two sets of variations on the program, 7 Variations on ‘God
Save the King’ and 5 Variations on ‘Rule, Britannia.’
No, this is not a disc containing music with the profound musical and emotional depth of Beethoven’s late piano sonatas, but it is a disc containing music by the master that delights and entertains us as we hear him having fun at the keyboard, something that Ms. Hewitt seems to be doing as she romps through these variations and leads us on a tour of some colorful musical byways. Hee haw indeed!
Chick Corea Plays. Concord Jazz CJA00284.
The world lost a beloved musical giant early this year
with the passing of keyboard legend Armando Anthony “Chick” Corea (1941-2021).
My connection with and affection for Corea go way back, having first
encountered his music as a G.I. in Germany back in the ‘70s through his Return
to Forever LPs Light as a Feather, Hymn of the Seventh Galaxy,
and Where Have I Known You Before? After my discharge from the Army and
return to college, I picked up No Mystery and Romantic Warrior plus
my first-ever ECM album, Crystal Silence, a duet album featuring Corea
with vibraphonist Gary Burton. Around this same time my wife and I also had the
great thrill of seeing Return to Forever in concert. This was shortly after the
young Al Di Meola had joined the group on guitar, and he, Lenny White on drums,
Stanley Clarke on bass, and Corea on keyboards delivered thrill upon musical
thrill that evening. Not long after that, Return to Forever broke up, and Corea
went on to many other projects both as a leader and as a sideman, gathering an
incredible total of 25 (just this month, two posthumously) Grammy awards during
his storied career, of which jazz-rock fusion was just one small part. He was a
serious and very accomplished musician, conversant with a wide range of music,
which is evident on what would turn out to be his final recording, this two-CD
set of solo piano performances.
“I’m part of a lineage,” Corea once explained. “The thing that I do is similar to what Monk did, to what Bill Evans and Duke Ellington did, and moving back into another era of music, what Bach and Mozart and Beethoven did. These were all pianists who were composers at heart, who gathered their own musicians together to play. I feel so proud to be a part of that tradition.” When you look at the cover of Plays, his final album, for which Corea himself designed the cover art, you see the names Mozart, Scarlatti, Scriabin, Chopin, Evans, Monk, Jobim, Gershwin, Wonder – and Corea. As the program unfolds, he offers spoken introductions to help the audience (the recordings are from concert performances) feel at home with such a wide range of music from such a diverse group of composers. His spoken introductions and his spontaneous, improvisatory style of playing both serve to communicate his wide-ranging love for and mastery of music regardless of genre.
One fascinating feature of his live solo concerts is that he will often invite audience members to come on stage and improvise at the keyboard alongside him. He never knows who might turn up, and he has had children and competent amateurs come forward in past concerts, but on Plays, the pianist who joined him on stage turned out to be the conservatory-trained French classical pianist Charles Heisser and the French-Israeli jazz pianist Yaron Herman, who has released albums on Blue Note and Decca Records. When they were chosen for these brief duets, however, both were simply audience members. “I didn’t know they were pros,” Corea noted. “but it’s always a lot of fun when I invite pianists to come up on stage to improvise with me.” It’s fun for the listener, too, to hear these musicians doing what they love to do, creating music with their hearts, minds, and fingers. You don’t have to be a jazz fan, or a classical fan, or even a fan of piano music to enjoy this album. If you simply love music, I believe you will find that the late Chick Corea’s love for music will reach out and touch your heart as you listen to this well-recorded program of music that spans the centuries.
Encounter. Igor Levit, piano. Sony Classical 19439786572.
The Russian-born German pianist Igor Levit (b. 1987) is
one of the brightest stars in the pianistic firmament. During the COVID-19
pandemic, he has been active in presenting music online, and in his recent
recordings he has taken on programs chosen not to showcase virtuosic pianism
but rather to reflect on philosophical/spiritual issues; not in some glib
New-Agey sort of way, but as a serious musician who finds himself challenged by
and engaged with life and its potential for enhancement. As the liner notes
point for Encounter proclaim, “the choice of works that are included on
this album is not dictated by any interest in musical history but by one that
is intensely existential. The present programme takes its cue from those
moments when the heart rate grows calmer, when the information overload is
reduced and our gaze is directed solely at what is essential.”
This two-CD set consists primarily of music in the form of arrangements. Disc one is devoted to two sets of arrangements by the Italian composer and pianist Ferruccio Busoni (1866-1924) of chorale preludes, ten by Bach and six by Brahms. As you might imagine from the type of works these are, they are not virtuoso piano works intended to dazzle; rather, they have a stately, flowing beauty that Levit communicates well. You hear Bach, you hear Brahms, but you begin to feel something beyond the notes.
Disc two finds Levit taking his listeners ever more inward, beginning with more music by Brahms, but once again not music originally composed by Brahms for the piano, but rather arrangements by Max Reger (1873-1916) of Brahms’s Vier ernste Gesänge (Four Serious Songs). The liner notes observe that “Brahms’s pitiless examination of mortality and death in his Vier ernste Gesänge was a reaction to the deaths of a number of family members and close friends in the years leading up to their composition. Above all, they anticipate the death of Clara Schumann, whom Brahms had loved all his life and who had suffered a serious stroke in late March 1896. The then sixty-three-year-old composer was also aware of his own incurable illness when he completed these songs that same summer.” Next in the program is an arrangement for piano by Julian Becker of the brief, somber Nachtlied (Night Song) by Reger himself, which was composed as a setting of these lines by a 16th century theologian: “The night has come when we should rest; may it please God to permit the devout to lie down in His company and with His blessing and be at Peace.” Following this brief but deeply moving three-minute piece, Levit concludes the program with the only composition that is not an arrangement, but was originally composed for the piano, Palais de Mari by the American composer Morton Feldman (1926-1987). Written in 1986, it was Feldman’s final composition for solo piano. This is spare music, quiet music, music that hints rather than declares, that sighs rather than sings. For more than 28 minutes, Levit uses Feldman’s haunting score to invite us into a quiet world of reflection, a refuge from a world of polemic and pandemic. This is an utterly beautiful release.
Beethoven: Variations. Angela Hewitt, piano. Hyperion CDA68346.
No, this is not a disc containing music with the profound musical and emotional depth of Beethoven’s late piano sonatas, but it is a disc containing music by the master that delights and entertains us as we hear him having fun at the keyboard, something that Ms. Hewitt seems to be doing as she romps through these variations and leads us on a tour of some colorful musical byways. Hee haw indeed!
Chick Corea Plays. Concord Jazz CJA00284.
“I’m part of a lineage,” Corea once explained. “The thing that I do is similar to what Monk did, to what Bill Evans and Duke Ellington did, and moving back into another era of music, what Bach and Mozart and Beethoven did. These were all pianists who were composers at heart, who gathered their own musicians together to play. I feel so proud to be a part of that tradition.” When you look at the cover of Plays, his final album, for which Corea himself designed the cover art, you see the names Mozart, Scarlatti, Scriabin, Chopin, Evans, Monk, Jobim, Gershwin, Wonder – and Corea. As the program unfolds, he offers spoken introductions to help the audience (the recordings are from concert performances) feel at home with such a wide range of music from such a diverse group of composers. His spoken introductions and his spontaneous, improvisatory style of playing both serve to communicate his wide-ranging love for and mastery of music regardless of genre.
One fascinating feature of his live solo concerts is that he will often invite audience members to come on stage and improvise at the keyboard alongside him. He never knows who might turn up, and he has had children and competent amateurs come forward in past concerts, but on Plays, the pianist who joined him on stage turned out to be the conservatory-trained French classical pianist Charles Heisser and the French-Israeli jazz pianist Yaron Herman, who has released albums on Blue Note and Decca Records. When they were chosen for these brief duets, however, both were simply audience members. “I didn’t know they were pros,” Corea noted. “but it’s always a lot of fun when I invite pianists to come up on stage to improvise with me.” It’s fun for the listener, too, to hear these musicians doing what they love to do, creating music with their hearts, minds, and fingers. You don’t have to be a jazz fan, or a classical fan, or even a fan of piano music to enjoy this album. If you simply love music, I believe you will find that the late Chick Corea’s love for music will reach out and touch your heart as you listen to this well-recorded program of music that spans the centuries.
Encounter. Igor Levit, piano. Sony Classical 19439786572.
This two-CD set consists primarily of music in the form of arrangements. Disc one is devoted to two sets of arrangements by the Italian composer and pianist Ferruccio Busoni (1866-1924) of chorale preludes, ten by Bach and six by Brahms. As you might imagine from the type of works these are, they are not virtuoso piano works intended to dazzle; rather, they have a stately, flowing beauty that Levit communicates well. You hear Bach, you hear Brahms, but you begin to feel something beyond the notes.
Disc two finds Levit taking his listeners ever more inward, beginning with more music by Brahms, but once again not music originally composed by Brahms for the piano, but rather arrangements by Max Reger (1873-1916) of Brahms’s Vier ernste Gesänge (Four Serious Songs). The liner notes observe that “Brahms’s pitiless examination of mortality and death in his Vier ernste Gesänge was a reaction to the deaths of a number of family members and close friends in the years leading up to their composition. Above all, they anticipate the death of Clara Schumann, whom Brahms had loved all his life and who had suffered a serious stroke in late March 1896. The then sixty-three-year-old composer was also aware of his own incurable illness when he completed these songs that same summer.” Next in the program is an arrangement for piano by Julian Becker of the brief, somber Nachtlied (Night Song) by Reger himself, which was composed as a setting of these lines by a 16th century theologian: “The night has come when we should rest; may it please God to permit the devout to lie down in His company and with His blessing and be at Peace.” Following this brief but deeply moving three-minute piece, Levit concludes the program with the only composition that is not an arrangement, but was originally composed for the piano, Palais de Mari by the American composer Morton Feldman (1926-1987). Written in 1986, it was Feldman’s final composition for solo piano. This is spare music, quiet music, music that hints rather than declares, that sighs rather than sings. For more than 28 minutes, Levit uses Feldman’s haunting score to invite us into a quiet world of reflection, a refuge from a world of polemic and pandemic. This is an utterly beautiful release.
Budapest Concert: Keith Jarrett, piano. ECM 2700/01 B0032851-02.
Budapest Concert was recorded live on July 3, 2016 at the Bela Bartok Concert Hall in Budapest. The 1.5-hr concert consisted of 12 improvised selections (titled “Parts I-XII,”), the first four of which appear on CD1 (37:26), while CD2 (54:46) contains the final eight plus two encore pieces, covers of “It’s a Lonesome Old Town” and “Answer Me, My Love.” Jarrett comes out pumped with energy in Part I, the longest (14:42) and most intense, challenging music of the whole program. It is almost as if Jarrett was aware that he was playing in Bartok Hall and was determined to make music in that tradition and spirit. After that initial assault, he seems to relax somewhat, and the music becomes more accessible, especially on CD2, where Jarrett is able to spin some memorable melodies seemingly out of thin air.
Suite: April 2020: Brad Mehldau, piano. Nonesuch 075597919288.
Mehldau is another jazz pianist who is more musically versatile than you might think. If you really want to hear some peak jazz Mehldau, you really can do no better than his The Art of the Trio albums from the 1990s, especially The Art of the Trio III – Songs (Warner Brothers 9362-47051-2), which is absolutely amazing. On the more classical side, his solo release After Bach (Nonesuch 7559-79318-0) is well worth a listen. Enjoy…
KWN
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