Ravel: Sonatine; Menuet sur le nom de Haydn; Valses nobles et sentimentales; Menuet antique; Pavane pour une infante défunte; Le Tombeau de Couperin. Clément Lefebvre, piano. Evidence EVCD083.
By Karl W. Nehring
French pianist Clément Lefebvre (b. 1989) has put together an absolutely marvelous Ravel disc. The opening piece on the program, Sonatine, is a composition with a name that may not be recognizable to a lot of classical music lovers. However, if you give it a listen, especially in such a fine performance and recording as this one, you may well have a new favorite to add to your list. Throughout its three brief movements, it will capture your imagination and hold you spellbound. His performance of Valses nobles et sentimentales is also worthy of special mention, as it seems to strike just the right balance of power and precision that keeps things exciting without taking them over the top.
My reference for Ravel piano recordings has long been that by the late American pianist Abbey Simon (1920-2019) on Vox, which is available at a bargain price and is truly that: a bargain. I also have owned at least two CD incarnations of an intriguing set recorded for the Nimbus label by the late Lithuanian-born French pianist Vlado Perlemuter (1904-2002). Wonderfully played, but distantly recorded, the piano almost seeming to be placed across the room from the listener. This new Evidence recording is better engineered than either of these two classic sets; let’s hope that Lefebvre records the rest of the Ravel piano works so that we can have a complete set from this remarkable musician. Highly recommended.
Beethoven: The Last Sonatas, Opp. 109, 110, & 111. Gerardo Teissonniére, piano. Steinway & Sons 30188.
Two installments ago I reviewed a CD that featured a performance of one of Beethoven’s late string quartets (https://classicalcandor.blogspot.com/2022/07/piano-potpourri-no-7-cd-reviews.html), then in my previous installment I did a review of a recording of his Diabelli Variations for solo piano (https://classicalcandor.blogspot.com/2022/07/piano-potpourri-no-7-cd-reviews.html), a review in which there was some discussion of his late piano sonatas, which have been recorded by just about every notable pianist. Here we have a new recording of his final three sonatas by an artist that many classical music fans may not be familiar with, the Puerto Rican-born pianist Gerardo Teissonniére (b.1961), a long-time faculty member at the Cleveland Institute of Music, who writes of these sonatas that “the drama, complex emotional charge, depth and range of expression in these works evoke the most poignant moments of the human experience in contemporary times, and have inspired a shared personal desire to convey messages of hope, gratitude, love and strength inherent in the music… These three extraordinarily diverse works present us with some of the composer’s most beautiful, innermost, surprising, and transcendental musical expression.”
That might sound to some like over-the-top prose, but for those who have really taken the time to experience the last three Beethoven piano sonatas, Teissonniére’s description may well sound much more straightforward. In any event, his performance is an excellent one. It is suitably bold when the music calls for it, as in those dramatic moments in Op. 109, but he could also make the instrument sing in the Op. 111 “Arietta.” The sound of his Steinway has been captured in vividly detailed and robust sound at the Sono Luminus Studios in Virginia by engineer Daniel Shores. Gerardo Teissonniére may not have an instantly recognizable name, but this a quality recording of important music and thus certainly recommendable.
Opening. Tord Gustavsen Trio (Tord Gustavsen, piano; Steinar Raknes, double bass; Jarle Vespestad, drums). ECM 2742.
Norwegian pianist Tord Gustavsen (b. 1970) returns to his standard trio format for his new album Opening – no added saxophone or trumpet this time around as on a few of his previous albums, just the classic piano trio format: piano, drums, and bass. Those familiar with his previous albums will pretty much know what to expect, music that is relaxing on the surface but never as simple as it first seems. Melodies twist and turn, chords shift and keys modulate, and the three musicians work together, with no extended solos, no displays of whizbang speedy playing for the sake of wowing the listener with overwhelming displays of blistering technique.
BBC Music Magazine has a feature in each issue titled “Music to my ears: What the classical world has been listening to this month” in which they ask several classical musicians what music they have been listening to recently. It is generally quite fascinating – and encouraging – to see the depth and breadth of the interests expressed by many of the musical luminaries who are featured. I was surprised this month by pianist Clare Hammond, who after mentioning listening to string quartets by Elizabeth Maconchy and a violin concerto by George Walker, had this to say: “After a day of practice, I don’t really want to classical music as I have reached saturation point, so I have been listening to jazz pianist Tord Gustavsen’s Opening, which is his latest album. I love the atmosphere he creates and the way his music takes me out of myself. I also use it when the children are screaming – I put Gustavsen on and they calm down. I don’t know if you should use music in such a utilitarian way!”
Yes, I can see how those Maconchy string quartets would get Ms. Hammond’s kids more than a touch stirred up, especially if they have not yet had their dinner. It’s nice to know that Opening is effective in calming them down, but I’d like to close by assuring my readers that the album has an abundance of musical as well as utilitarian value. It is beautifully recorded in the usual ECM house sound – full and clear with a dollop of reverb added to give a sense of air and ambience.
KWN
By Karl W. Nehring
My reference for Ravel piano recordings has long been that by the late American pianist Abbey Simon (1920-2019) on Vox, which is available at a bargain price and is truly that: a bargain. I also have owned at least two CD incarnations of an intriguing set recorded for the Nimbus label by the late Lithuanian-born French pianist Vlado Perlemuter (1904-2002). Wonderfully played, but distantly recorded, the piano almost seeming to be placed across the room from the listener. This new Evidence recording is better engineered than either of these two classic sets; let’s hope that Lefebvre records the rest of the Ravel piano works so that we can have a complete set from this remarkable musician. Highly recommended.
Beethoven: The Last Sonatas, Opp. 109, 110, & 111. Gerardo Teissonniére, piano. Steinway & Sons 30188.
That might sound to some like over-the-top prose, but for those who have really taken the time to experience the last three Beethoven piano sonatas, Teissonniére’s description may well sound much more straightforward. In any event, his performance is an excellent one. It is suitably bold when the music calls for it, as in those dramatic moments in Op. 109, but he could also make the instrument sing in the Op. 111 “Arietta.” The sound of his Steinway has been captured in vividly detailed and robust sound at the Sono Luminus Studios in Virginia by engineer Daniel Shores. Gerardo Teissonniére may not have an instantly recognizable name, but this a quality recording of important music and thus certainly recommendable.
Opening. Tord Gustavsen Trio (Tord Gustavsen, piano; Steinar Raknes, double bass; Jarle Vespestad, drums). ECM 2742.
BBC Music Magazine has a feature in each issue titled “Music to my ears: What the classical world has been listening to this month” in which they ask several classical musicians what music they have been listening to recently. It is generally quite fascinating – and encouraging – to see the depth and breadth of the interests expressed by many of the musical luminaries who are featured. I was surprised this month by pianist Clare Hammond, who after mentioning listening to string quartets by Elizabeth Maconchy and a violin concerto by George Walker, had this to say: “After a day of practice, I don’t really want to classical music as I have reached saturation point, so I have been listening to jazz pianist Tord Gustavsen’s Opening, which is his latest album. I love the atmosphere he creates and the way his music takes me out of myself. I also use it when the children are screaming – I put Gustavsen on and they calm down. I don’t know if you should use music in such a utilitarian way!”
Yes, I can see how those Maconchy string quartets would get Ms. Hammond’s kids more than a touch stirred up, especially if they have not yet had their dinner. It’s nice to know that Opening is effective in calming them down, but I’d like to close by assuring my readers that the album has an abundance of musical as well as utilitarian value. It is beautifully recorded in the usual ECM house sound – full and clear with a dollop of reverb added to give a sense of air and ambience.
KWN
