Piano Potpourri No. 10 (CD Reviews)

 by Karl Nehring

Carl Philipp Emanuel Bach: Württemberg Sonatas. (CD1) Sonata 1 in a-minor; Sonata II in A-flat major; Sonata III in e-minor; (CD2) Sonata IV in B-flat major; Sonata V in E-flat major; Sonata VI in b minor. Keith Jarrett, piano. ECM New Series 2790/91 485 8495

 

The American pianist Keith Jarrett (b. 1945) is known primarily for his work in jazz, both as a solo artist (his Köln Concert album is the largest-selling solo jazz recording ever) and for his work in various ensembles, having led two famous quartets (one American, one European), a trio, as well as having played keyboard on noteworthy jazz recordings such as Charles Lloyd, Miles Davis, and Kenny Wheeler. However, he has also ventured into classical music, recording works by Bach, Barber, Bartok, Händel, Mozart, Pärt, and Shostakovich for the ECM New Series label. He has even tried his hand at composing some serious classical works. Tragically enough, in 2018 Jarrett suffered the first of several strokes that robbed him of the use of his left hand, thus leaving him unable to play the piano. Earlier this year, Jarrett agreed to be interviewed by Rick Beato; that fascinating video can be seen here.

We have previously reviewed a couple of his solo piano recordings (those reviews can be found here and here. Although those releases captured the pianist performing improvised music in live concert settings, this latest release is of composed music; in this instance, music composed by Carl Philipp Emanuel Bach (1714-1788), the fifth child and second surviving son of Johann Sebastian Bach. He composed these six Württemberg Sonatas between 1742 and 1744 in Berlin or at Teplitz, a resort town which Karl Eugen, the Duke of Württemberg, had visited. It was to the Duke that the Sonatas were dedicated. The music is something of an in-between music – not as structure as that of the elder Bach, but not quite as loose and melodic as what was yet to come. This was music originally intended to be performed on the harpsichord; Jarrett’s choice to record it on the piano was a novel one back in 1994. The end result is pleasant, but in the end, never quite seems to catch fire. The music is lovely enough, especially in some of some of its slower passages (e.g., the second movement Adagio of Sonata II), but some of the allegro movements come across as slightly undercaffeinated. The recording quality is excellent, as we have come to expect from ECM. 

 

The Future is Female: Vol. 3 At Play. Hélène de Montgeroult: Sonata No.9 in F sharp minor; Cécile Chaminade: Thème varié, Op. 98; Grazyna Bacewicz: Scherzo; Chen Yi: Guessing; Franghiz Ali-Zadeh: Music for Piano; Pauline Oliveros: Quintuplets Play Pen: Homage to Ruth Crawford; Hannah Kendall: On the Chequer'd Field Array'd; Aida Shirazi: Albumblatt; Regina Harris Baiocchi: Piano Poems. Sarah Cahill, piano. First Hand Records FHR133

 

Volume 3 of The Future Is Female marks the completion of this recording project undertaken by the American pianist Sarah Cahill (b. 1960). As we noted in our review of Volume 2, which can be seen here, this is not just another piano recital recording, for Sarah Cahill is not just another pianist. Among other things, she is also a musical explorer, communicator, and advocate. Her radio show, Revolutions Per Minute, can be heard every Sunday evening from 6 to 8 pm in San Francisco. The program focuses on the relationships between classical music and new music, encompassing interviews with musicians and composers, historical performances, and recordings outside the mainstream. She is on the faculty of the San Francisco Conservatory and is a regular pre-concert speaker with the San Francisco Symphony and the Los Angeles Philharmonic. In 2018, she started working on her project, The Future is Female, which now encompasses more than 70 compositions; these recordings are a reflection of that project.

We reviewed Volume 2 upon its release in a review that can be found here. Now this new release continues in much the same vein, highlighting relatively unknown works by female composers both past (Hélène de Montgeroult, whose Sonata No.9 opens the program, lived from 1764 to 1836) and present (the youngest composer represented, Aida Shirazi, was born in 1987). The music is largely accessible, certainly never less than listenable. Cahill has chosen wisely, presenting music that will make listeners want to hear more. The liner notes offer portraits of all the composers plus brief notes on their compositions. Kudos to Ms. Cahill and the folks at First Hand Records for bringing us some appealing music that we might very well otherwise never have had the opportunity to enjoy.