‘Blueprint’: Piano Audio by Nikolai Kapustin for Jazz Trio
Frank Dupree, piano Jakob Krupp, bass Obi Jenne, drums (Capriccio)
When I claimed past 12 months on the pianist Frank Dupree’s to start with album of works by Nikolai Kapustin, Dupree previewed factors to occur. For his observe-up engagement with Kapustin, a swing-motivated Russian composer, Dupree explained he would launch a sequence of solo piano performs performed by a regular jazz trio.
Now that the benefits are out, the knowledge of the idea is evident. Dupree could have recorded an satisfying solo set, as his experience for Kapustin is as fluid as ever. But we presently have no absence of 1-player recitals of this music — which includes from Marc-André Hamelin, Steven Osborne and Kapustin himself.
The improvised component on “Blueprint” is refined. Dupree performs the piano solos as they were notated, and the bassist Jakob Krupp follows his remaining hand. The album’s distinguishing ingredient of improvisation is still left to the percussionist Obi Jenne. And it’s his interventions that certainly elevate this established. In a piece like the Op. 41 Variants, Kapustin moves briskly involving distinct syncopated models Jenne’s mutable beat-juggling highlights just about every change. Perhaps not each individual item in this article required the jazz combo therapy. But when the arrangements get the job done — as on choices from the Eight Live performance Études — this trio adds to the content a new jolt. SETH COLTER Partitions
Brahms: Late Piano Works
Paul Lewis, piano (Harmonia Mundi)
To listen to the pianist Paul Lewis’s new album of late Brahms, you would assume these parts had been prepared just immediately after the very last sonatas of Schubert, which Lewis has recorded with wrenching restraint. Splicing the gap amongst 1828 and the early 1890s, Lewis’s is a eyesight of Brahms as thoroughly Classicist these final four sets of solos are rendered with judicious tempos and a thoroughly clean, tranquil touch — clever, delicate readings.
The pearly moderation that makes Lewis’s Schubert so movingly humble at times retains his Brahms shy of grandeur and particularly mystery. These are tender, influencing interpretations much more than pensive, enable by yourself unsettling, types Lewis in some cases stints the softest dynamics, giving a slight sense of straightforwardness when you want intimations (at least) of the epic. The Intermezzo in E flat (Op. 117, No. 1) does not seem to be to lose itself in the middle part — as it does in Radu Lupu’s benchmark 1987 recording — so the return to the topic is fewer than overwhelming.
But a cleareyed Intermezzo in A (Op. 118, No. 2) is deeply enjoyable the Intermezzo in E Insignificant (Op. 119, No. 2) leavens lucidity with dreaminess. And Lewis’s sparkle in the center of the Romanze in F (Op. 118, No. 5) gives the change back to sober experience at the conclusion quietly huge energy. ZACHARY WOOLFE
Lise Davidsen, soprano Leif Ove Andsnes, piano (Decca)
The recording industry has finally found a way to seize Lise Davidsen. A luminous soprano of exceptional assortment, equally capable of floodlight ability and the piercing smallness of a laser pointer, she was not very well represented on her initial two albums for Decca, which ended up paperwork of delicate and intelligent interpretation extra than versatility or resounding may possibly.
Now, following systems of Wagner, Strauss, Beethoven and Verdi, arrives a significantly extra intimate album of Grieg tracks carried out with the pianist Leif Ove Andsnes — a pairing of two fantastic Norwegian musicians in works by their country’s most treasured composer. The scale of this program is better suited than Davidsen’s previously albums at conveying the dexterity of her voice, and her gift for endearing levity there are playful turns of phrase here that you just don’t get in “Tannhäuser.”
Through the album — which commences with the eight-tune cycle “The Mountain Maid” and proceeds with excerpts from other collections — Andsnes is an evocative tone painter, with dreamy glissandos in “Singing,” galloping festivity in “Midsummer Eve” and flowing momentum in “A Boat on the Waves Is Rocking.” And Davidsen is a nimble raconteur, lovingly warm in the opening cycle’s “Meeting,” then shattering in its Schubertian finale, “At the Gjaetle Brook,” and later on bringing both equally folk lightness and Wagnerian heft to the six tunes of Op. 48. To the credit rating of Grieg and these artists, you’ll hardly ever be so moved by a music named “Snail, Snail!” JOSHUA BARONE
Academy of St. Martin in the Fields Neville Marriner, conductor (Eloquence)
It’s quick now to be a minimal sniffy about Neville Marriner’s achievements with the Academy of St. Martin in the Fields, a partnership renowned as the most recorded in historical past. With the achievement of the time period-instrument movement, their hundreds of recordings on modern day instruments have acquired the popularity of currently being a bit staid — useful and trusted, to be sure, but nonetheless dusty relics of an era ideal overlooked.
But this thoroughly pleasing 15-disc established — which for the very first time brings jointly 33 Haydn symphonies established down amongst 1970 and 1990 — is enough reminder that there were being properly excellent inventive good reasons Marriner and his chamber-orchestra forces have been these kinds of a roaring professional results.
Conceiving their function initially as a crisp, classy rejoinder to an more mature, stouter method to the Baroque and Classical repertoire, they played this music with insatiable collective commitment — the slow movements singing gracefully, the outer movements glowing in their travel and invention. If there is a little extra zest in their accounts of Haydn’s before symphonies than his later on kinds, they are all brilliantly properly judged, and full of daily life. DAVID ALLEN
George Walker: Piano Sonatas
Steven Beck, piano (Bridge)
In 2018, when the composer and pianist George Walker died at 96, there were being plenty of accomplishments to memorialize, together with his Pulitzer Prize — the initially awarded to a Black composer. But there was also a dispiriting acknowledgment of a skipped possibility, provided that so number of elite classical institutions had seriously engaged with Walker’s get the job done although he was alive.
The inattention extended to recordings there remains a notable dearth of sets devoted completely to Walker. Incredibly partial redress arrives in the type of this new album, in which Steven Beck requires on all five of Walker’s piano sonatas, published between 1953 and 2003.
The very first sonata, revised in 1991, delivers some of the galloping strength seemingly necessary when suggesting Americana, but it also involves a rambunctious harmonic edge that bristles with maverick spirit. By the time of the Third Sonata, published in 1975 and revised in 1996, atonality experienced taken center stage. But Walker’s signature experience for distinction — including alternations between motifs that ring out and peremptory chordal bursts — is however evident. With playing that is slashing and sensitive by turns, Beck’s recital accentuates the by means of strains in a protean creative daily life. SETH COLTER Partitions