Piano Potpourri, No. 6 (CD Reviews)

By Karl W. Nehring

Schubert: Piano Sonata in G major D894; Piano Sonata in E minor D769a (fragment; formerly D994); Piano Sonata in A major D664. Stephen Hough, piano. Hyperion CDA 68370.

The last time British pianist Stephen Hough (b.1961, his name rhymes with “rough”) made an appearance in Classical Candor, it was for reviews of both a recording (Chopin’s complete Nocturnes) and a book (Rough Ideas), which can be found here: https://classicalcandor.blogspot.com/2021/11/piano-potpourri-no-2-cd-reviews.html. Given that the piano music of Schubert is second to none, at least in my humble estimation, I had been looking forward eagerly looking forward to auditioning this new recording and was grateful for its arrival. Not long ago I had it playing on my big system and was sitting in my listening room with my eyes closed, not so much listening critically but just letting myself get lost in the music, when I was startled by a sharp tap on my shoulder. As I turned to see what my wife wanted, I was startled to see that it was not my wife, but rather my Belgian detective friend, whom I had forgotten had said would be in the area in April and would try to stop by for a quick visit. As I scrambled for the remote to turn down the volume, he quickly exclaimed, “No no, mon ami, I am quite enjoying the Schubert most exquisite!” Hearing that, I immediately invited him to take my place in the listening chair. Removing a handkerchief from his pocket, he carefully dusted off the chair before primly sitting himself down. As he settled in to listen more closely, there was at first a look of intense concentration on his face, then a hint of a smile on his lips and a twinkle in his eyes. At times, his fingers would twitch as though he were fighting the urge to play the music on some imaginary keyboard. As the music came to an end, he turned to me and said, “Ah, mon ami, that was playing of the kind most exquisite. This fellow, he does to the music of Schubert the great justice, n’cest-pas?” Once again, far be it from me to argue with the world’s greatest detective.

As he did in the Chopin, Hough brings an interpretive touch to the music of Schubert that somehow sounds “just right.” He puts plenty of emotion and feeling into his playing, but never takes it over the top. You can feel his great love for this music, but his interpretations never sound overly sentimental. Moreover, the warmth of his playing is enhanced by the warmth of the recording. The Hyperion label has got piano recording down to an art and a science. They know how to put just enough distance between the microphones and the piano (and just where to put those microphones, how many, what types, etc.) and how to mix and master the resulting feeds to make the recording sound natural in your listening room. Perhaps some listeners might prefer a closer, brighter sound, but for me, this is about as good as it gets. The music of Schubert, the artistry of Hough, and the production values of Hyperion (not just the engineering, but also first-class liner notes and cover art) make this a highly recommendable release.

Arc I. Granados: Goyescas; Janacek; In the Mists; Scriabin: Piano Sonata No. 9, Op. 68, “Black Mass.” Orion Weiss, piano. First Hand Records FHR127.

Ohio-born pianist Orion Weiss (b. 1981) is embarking on a recording project that will eventually yield three releases, Arc I being the first. In his liner note essay, Weiss explains that “the arc of this recital trilogy is inverted, like a rainbow’s reflection in water. Arc I’s first steps head downhill, beginning from hope and proceeding to despair. The bottom of the journey, Arc II, is Earth’s center, grief, loss, the lowest we can reach. The return trip, Arc III, is one of excitement and renewal, filled with the joy of rebirth and anticipation of a better future.” He goes on to give a quick preview and chronological overview: Arc I (Granados, Janacek, Scriabin) from before World War I; Arc II (Ravel, Shostakovich, Brahms) from during World Wars I and II, during times of grief; Arc III (Schubert, Debussy, Brahms, Dohnanyi, Talma) from young composers, times of joy, after World War I and after World War II.

As Arc I begins, both the quality of the engineering and the quality of the musicianship reveal themselves quickly. In the Goyescas, Weiss displays a delicate touch that gives a dreamy feel to the music as it begins to unfold. His fingers are able to manipulate the keyboard with a delicacy and grace that can’t help but draw the listener in. The Janacek composition In the Mists evokes a different mood – unsettled, uncertain, soft one moment and loud the next. Weiss says of this piece that “its ideas grow organically and unpredictably, as if in conversation or thought, and the borders between accompaniment and melodic material disappear… the work ends with despair and without resolution, stuck in hopeless, fragmented repetition.” Weiss shows that he can play with power when called for, but he still displays that soft touch when called for. Shifting then to the music of Scriabin, the mood really does shift once again, the music of Scriabin being more complex, more bold and assertive, although at times becoming quiet and mysterious. Weiss proves capable of deftly navigating these twists and turns, drawing the listener into a mysterious soundscape. If Arcs II and III maintain this level of excellence, Weiss will have produced something truly special indeed. For now, Arc I is well worth a listen.

Brian Wilson: At My Piano. God only Knows; In My Room; Don’t Worry Baby; California Girls; The Warmth of the Sun; Wouldn’t it be Nice; You Still Believe in Me; I Just Wasn’t Made for These Times; Sketches of Smile: Our Prayer/Heroes and Villains/Wonderful/Surfs Up; Surf’s Up; Friends; Till I Die; Love and Mercy; Mt. Vernon Farewell; Good Vibrations. Brian Wilson, Piano. Decca B0034672-02.

Most people of a certain age probably recognize Brian Wilson (b. 1942) as the creative force behind the rock group The Beach Boys, who first made waves singing about surfing and hot rods but then made their biggest splash with the recording that Brian masterminded, nearly driving the rest of the group and assorted studio musicians crazy with his demands but ending up with an album that is widely acknowledged as a popular music milestone, Pet Sounds. Sir Paul McCartney, for example, freely acknowledges that it was hearing what Wilson and his bandmates had achieved with Pet Sounds that spurred the Beatles to put forth the many hours of extra effort in the studio that it took to produce their own legendary response to Wilson’s masterpiece, 1967’s Sgt. Pepper’s Lonely Hearts Club Band. Pushing for ever more complex harmonies and sounds, Wilson went on to experience some well-publicized mental health issues, dropping out of the music scene for an extended period before making a comeback, recording some solo work, briefly reuniting with the remaining Beach Boys (who have since split – Mike Love still fronting the group along with some of the original members, Wilson occasionally touring with other members as “Brian Wilson and Friends,” playing many of the old tunes, sometimes recreating entire albums).

When I first heard that his newest release was to be titled “At My Piano” and was going to consist of old material from Wilson’s catalog, I assumed that he would be singing, at least on some of the cuts. Although at this point in his life he does not have much of a voice, there is a raw, sincere honesty to it that can just break your heart on songs such as “I Just Wasn’t Made for These Times'' or “Love and Mercy.” At first, then, I was dismayed to learn that this was to be a purely instrumental album, just Brian at the piano, playing his own arrangements of music that he obviously knows inside out and backwards. On first listen, I enjoyed it, but was not quite sure what I thought of it. So I listened again. Lather, rise, repeat… I read what he wrote in his brief liner note. “We had an upright piano in our living room and from the time I was 12 years old I played it each and every day. I never had a lesson, I was completely self-taught. I can’t express how much the piano has played such an important part in my life. It has brought me comfort, joy, and security. It has fueled my creativity as well as my competitive nature. I play it when I’m happy or feeling sad. I love playing for people and I love playing alone when no one is listening. Honestly, the piano and the music I create on it has probably saved my life.”  If you are familiar with the music of the Beach Boys, you will be familiar with this music, and might even find yourself mentally, or perhaps – if nobody is listening – singing right out loud some of the lyrics out loud to Brian’s accompaniment. That’s okay, it’s hard not to. Alternatively, you can just play this CD or stream this release and enjoy listening to what Brian does with this music without necessarily singing along. That’s okay too. No, this is not Schubert, or Beethoven, or Chopin; admittedly, many classical music fans may think I am wasting their time by even including this review. I am sorry to have wasted their time, but I hope that there are at least a few folks who find this review a pleasant surprise. And to all, I suggest taking a look at the smile on Brian Wilson’s face and taking a moment to contemplate the joy he felt in performing his music for you.” Love and mercy to you and your friends tonight…”

Oscar Peterson: A Time for Love (The Oscar Peterson Quartet Live in Helsinki, 1987). CD1: Sushi; Love Ballade; A Salute to Bach (Medley): Allegro/Andante/Bach’s Blues; Cakewalk; CD2: A Time for Love; How High the Moon; Soft Winds; Waltz for Debby; When You Wish Upon a Star; Duke Ellington Medley: Take The “A” Train / Don’t Get Around Much Anymore / Come Sunday / C-Jam Blues / Lush Life / Caravan; Blues Etude. Oscar Peterson Quartet (Oscar Peterson, piano; Joe Pass, guitar; Dave Young, bass; Martin Drew, drums). Mack Avenue MAC1151.

The late Canadian jazz pianist Oscar Peterson (1925-2007) was regarded as one of the true giants of the keyboard. He released more than 200 recordings, accrued seven Grammy awards, and was held in high regard amongst his peers. He released a number of recordings of the Oscar Peterson Trio, which consisted over the years of Peterson on piano plus some combination of bassist, drummer, or guitarist. Of course, he also recorded many solo and duo performances. Occasionally, Peterson sat in as a sideman on other musicians’ recording sessions, with some critics contending that he did some of his best playing in that context rather than a leader. Here we have him heading a quartet that includes another noted virtuoso of his instrument, guitarist Joe Pass. With two well-filled discs, Peterson fans will find plenty to keep them entertained. CD1 includes five compositions by Peterson himself, the longest (20:39) being the enticingly titled (at least for classical music fans) “A Salute to Bach.” Although to these ears at least it does not sound all that much like Bach (although the middle section, Andante, gets into some Bach-like counterpoint), it swings, and fits in with the rest of the tunes, which are generally lively and designed to get your toe tapping. The second CD consists primarily of music by others; to be honest, I think this is the disc that most listeners will prefer. Highlights include Pass’s solo guitar work on “When You Wish Upon a Star'' followed by the whole quartet really digging into a half-dozen Ellington/Strayhorn tunes. Fun stuff! And for a 35-year-old live recording, the sound quality is remarkably good. If you are a fan of the mainstream sort of jazz that Oscar Peterson represents, A Time for Love is a recording well worth seeking out.

KWN

Piano Espanol (CD review)

Jorge Federico Osorio, piano. Cedille Records CDR 90000 075.

As many of you are aware, for over twenty-five years the once-small, Chicago-based company Cedille Records has been quietly producing some of the best-sounding discs around, mostly of solo and small-ensemble artists. Add this 2004 release to their large and ever-growing collection of recordings you may want to pursue. It's a collection of Spanish piano music played by Mexican pianist Jorge Federico Osorio, and like most of Cedille's productions, ace engineer Bill Maylone recorded it.

Jorge Federico Osorio

Osorio is a most-refined pianist whose best work comes in the more expressively lyrical passages of these numbers. The highlight of the set is Spanish pianist and composer Isaac Albeniz's Suite Espanola, which has some absolutely gorgeous stretches of music in it, beginning with the "Granada" segment that starts things off.

Of course, there is always the definitive interpretation of Albeniz's score by Alicia de Larrocha (Decca) to consider, but not even she is any more passionately graceful than Osorio in this piece. Natually, this is not to suggest that Osorio isn't up to the big, explosive passages, too. He displays fine, gymnastic drive in the famous "Asturias" movement, for instance. It's just that his forte appears to be the articulation of the composition's inner beauty.

The other music on the disc is almost equally distinguished, Manuel de Falla's Piezas Espanolas, Enrique Granados's Danzas Espanolas, and four piano sonatas by Padre Antonio Soler. But for me it was the Albeniz that stood out; that and Cedille's sound for the piano. It's sweet, lush, and well defined, with a rich, golden glow around each note. It's really quite lovely and well complements Osorio's musical style.

JJP

To listen to a brief excerpt from this album, click on the forward arrow:

Classical Expressions (HQCD review)

Music of Khachaturian, Granados, Saraste, Rachmaninov, Schubert, Debussy, and others. Richard Amoroso, The Not-So-Classical Chamber Ensemble. HDTT DTR1.

In their own words, “Direct-to-Tape Recording Company (DTR) was founded in 1979 with the goal of capturing the sound of a performance as you would hear it if you were there.

Although the recording media have changed from the open reel and cassette tapes we originally used in 1979 to PCM digital in 1982 and later to Digital Audio Tape (DAT) and now to hard disk recorders, our philosophy has remained the same. DTR recordings are normally recorded with two microphones to capture a natural sound and the acoustic space of a performance. We use no equalization, compression, limiting, or other electronic tricks and gimmicks that can spoil the sound. Very few splices (if any) are used within each movement or piece in order to capture the musical ‘soul’ of a performance. The results of these efforts are recordings which duplicate, as closely as possible, the sound you would hear if you were at a live performance.

The music we are recording (primarily classical, jazz, and light classical) is served best by our recording techniques. By using only two microphones we avoid the myriad problems which occur with multitrack recording.”

Now the folks at HDTT (High Definition Tape Transfers) have begun remastering some of DTR’s material, apparently making it better than ever (although I can only assume this because I had no standard-issue DTR disc on hand with which to make comparisons. I can only say that DTR’s recording techniques produce quite realistic outcomes and that HDTT’s processing produces an excellent remastering. For the audiophile, the HDTT product seems well worth investigating.

The present recording, Classical Expressions, features The Not-So-Classical Chamber Ensemble lead by Richard Amoroso. To suggest that they are a somewhat unusual ensemble for playing classical music would itself be somewhat unusual. Maestro Amoroso is not only the leader of the group but the chief arranger and cellist. Other members at the time of this recording included Ronald Amoroso, classical accordion; Patrick Mercuri and Regecca Mercuri, mandolin and guitars; Walter Pfeil, harp; Nick Mastripolito, piano; Nick D’Amico, marimba; John Leitham, string bass; and Harvey Price, percussion. They are all experienced musicians who either perform regularly in major symphony orchestras or teach music at major universities or both. So, of course, they perform well. It’s just that their blend of instruments (cello, accordion, mandolin, guitar, harp, piano, marimba, bass, and percussion in various combinations) can produce some musical results that are a little odd.

Fortunately, they don’t call themselves the tongue-in-cheek “Not-So-Classical Chamber Ensemble” for nothing. While their sound seems better suited to pop music, their enthusiasm, gusto, and pure musicianship carry the day. The sound may be a tad quirky for classical music, but different is not necessarily bad. They are, in fact, quite a lot of fun to listen to, and they have chosen to perform numbers on this album that complement their sound and style.

You can judge for yourself the quality of the performances from the opening track (reproduced below at much lower audio quality), Aram Khachaturian's "Sabre Dance" from his ballet Gayaneh. Yes, the instrument amalgam produces some bizarre-sounding results if you're used to hearing this material in symphonic form, but, again yes, it is definitely a kick to enjoy. The performers sound as they're having as good a time as the listener, too.

And so it goes through a dozen brief tracks, some no more than three or four minutes each, which is the only real shortcoming of the album: it's only about thirty-three minutes long. Still, each item is of interest for one reason or another. In part this is because of the ingenuity and creativity of the players, and in part because each item uses a different arrangement of instruments, from solos to duets to trios to full ensemble.

A good example of the diversity on the program is the second track, "Nostalgia," by Eloysa Barroso, originally a piano piece, here arranged by Laurindo Almeida for two guitars. It's sweet and light and impeccably performed.

Walter Pfeil, formerly the principal harpist with the Minneapolis, Baltimore, and St. Louis Symphonies, demonstrates his skills in a solo performance of "Whirlwind" by Carlos Salzedo. It's gorgeous, and it pretty much stole the show for me.

The album continues through short works by Enrique Granados ("Orientale - Spanish Dance No. 2"); Pablo de Sarasate ("Zapateado," another showstopper); Sergei Rachmaninov ("Prelude in G," arranged by Richard Amoroso); and so on.

Among my favorites, besides "Nostalgia": Maurice Ravel's "Piece in the Form of a Habanera," delightfully transcribed for cello and harp; George Gershwin's "Prelude II," arranged for cello and guitar, a wonderfully bluesy little work; and Claude Debussy's "Girl with the Flaxen Hair," improbably but beautifully transcribed for cello and accordion.

Finally, for a bit of excitement, we have Schubert's "The Bee," Rimsky-Korsakov's "Flight of the Bumblebee" and Zequinha's "Tico Tico." The album presents an unusual assortment of tunes, as I've said, played on an unusual merging of instruments, yet it works. I just wish the program were longer.

Producer and engineer Bob Sellman recorded the music for DTR in 1981 using a direct-to-tape method that involved two Schoeps microphones and open-reel recording equipment. As a booklet note points out, Sellman used “no compression, equalization or limiting during its recording or editing. No splices or edits were made within any pieces.” HDTT remastered the original tapes in 2013, and I listened to it on an HQCD. The sound is about as realistic as you're going to find. There's an especially good sense of depth and space that lends to the illusion of being in the same room or hall with the performers. There's reasonably good transparency to the midrange, a well-extended high end, quick transient response, and plenty of air around the instruments. Never will you hear anything hard, shrill, bright, edgy, or dull. You may, however, hear a very slight tape noise in the background, but unless you're playing the music way too loud, you shouldn't notice it.

For further information on the various formats, configurations, blank HQCD discs, and prices of HDTT products, you can visit their Web site at http://www.highdeftapetransfers.com/storefront.php.

To listen to a selection from this album, click here:

JJP