Exploding Debussy, Kathleen Supové


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Increasingly it seems that new music performers take on a persona which includes a unique selection of repertoire and frequently a distinctive physical presence.  Kathleen Supové is a fine example.  Her distinctive physical appearance and attire becomes a metaphor for her very personal and intelligent choice of repertoire which sets her apart from her peers.  In addition to unquestioned virtuosity and beautiful interpretive skills her persona takes on an adjectival quality which prompts this reviewer to ponder the “Supovian” experience.


I may live to regret that neologism but the present album is offered as exhibit one (of about 20 albums) attesting to the distinctive choices of music that characterize her work.  This two disc album, The Debussy Effect, is a very modern homage (even sometimes with apologies) to the impressionist master.  Twelve tracks on the two discs feature seven contemporary composers.  Only three tracks are for solo piano.  The rest involve electronic enhancements and or “soundtracks”.

Initially I had hoped to be able to say something useful (if not particularly insightful) to prospective listeners/buyers of this album about each of the pieces here but after several listens I can only reliably say that the material makes for a great and entertaining listening experience.  It harbors complexities that cannot be fairly recounted in such a brief review.  (And this reviewer has a limited knowledge of Debussy as well.)

Here are works by some of the finest of the New York “downtown” music traditions that reflect some amazing and very deep appreciations that will likely change the way you hear Debussy.

Here is the track list:

Disc One

1.  Storefront Diva: a dreamscape by Joan La Barbara

2.  Dr. Gradus vs. Rev. Powell by Matt Marks

3.  Layerings 3 by Eric Kenneth Malcolm Clark

4.  What Remains of a Rembrandt by Randall Woolf

Disc Two

1-4.  Shattered Apparitions of the Western Wind by Annie Gosfield

5-7.  Cakewalking (Sorry Claude) by Daniel Felsenfeld

8. La plus que plus que lente by Jacob Cooper

All are engineered by the wonderful Sheldon Steiger for the New Focus recordings label.

So the take away here is as follows:  If you are a Debussy fan you will want to hear this album.  If you are a Kathleen Supové fan you will want to hear this album.  It is the second reason the seems the most salient here.  I expect to be listening to this many more times.  Enjoy.

 

Both Homage and Nostalgia for Sergeant Pepper at the UC Theater


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Creative, practical staging and lighting was a unifying factor in this triumph from Undercover Presents.

There was a full house at the UC Theater on this Saturday, June 3rd in Berkeley.  It was the only performance of this homage to the Beatles’ Sergeant Pepper album which was released 50 years ago (actually June 2, 1967).  Most of the performers were not even a twinkle in their parents’ eyes when this landmark of music came on the scene.  The “Summer of Love” was happening in the Bay Area and this album was unquestionably an influence then.  Tonight’s show demonstrated how that influence continues.

The audience was a mix of aging hippies (and non-hippies) and younger hipsters (is it OK to use that term and have no negative connotation?).  Some, no doubt, came for a bit of nostalgia remembering where they were when they first heard the original.  Some came to hear the creativity of local artists meeting such a challenge.

It would have been easy to simply do average covers of the songs and cater only to the nostalgia but Lyz Luke’s Undercover Presents, as usual, aimed higher than that (and hit their mark).  They, under the direction of guest producer Joe Bagale, curated a show of creative interpretations of each of the 13 tracks utilizing some of the finest of the massive talents that call the Bay Area home.  The end result was a true homage from another generation of marvelously diverse artists who put their stamp on the iconic songs without losing any respect for the power of the originals.

Simple but effective stage design by Bridget Stagnitto was reminiscent of the iconic album cover with creative lighting and functional information integrated into the tableau.  Ryan John and Brendan Dreaper were lead sound engineers.

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As is customary for these shows the bands played the tracks in their original order beginning with the Electric Squeezebox Orchestra’s instrumental cover of the opening track.  Principal trombone Rob Ewing’s arrangement captured the essence of that opening and effectively set the stage for what was to follow.

(Correction:  Per Joe Bagale the opening number was arranged by soprano saxophone player Michael Zilber.)

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Vocalist Dublin sang a bluesy solo version of “With a Little Help From My Friends”, those friends being the Jazz Mafia Accomplices

Guitarist Jon Monahan takes responsibility for this arrangement which veered just a bit off of nostalgia to deliver a very effective solo vocal version (the original you may recall had that call and answer thing going on) of this, one of the best known tracks on the album.  Though it was not obvious, perhaps there was some homage intended to the late Joe Cocker who first saw the bluesy potential here when he presented his justly famed version at Woodstock in 1969.

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Raz Kennedy made effective use of backup singers in his soulful take on “Lucy in the Sky with Diamonds”.  He shared arranging credit with Nick Milo.  The spirit of the Supremes, Gladys Knight (and of course the Pips), and maybe a touch of James Brown seemed to be present in the house and this arrangement got a great review from the audience.  What a voice!

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Eyes on the Shore shared arranging credits in their digital synth inflected take on Getting Better.  They went further afield with the material than some and may have briefly lost the pure nostalgia seekers but the arrangement clearly succeeded in pleasing the crowd. One would expect that psychedelia be transformed by the digital world, right?  And so it was.

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The Avant Jazz Funk duo of Scott Amendola on percussion and Will Blades on Hammond Organ (how’s that for nostalgia?) and Clavinet turned in a very intense and rich improvisational battle in their purely instrumental version of “Fixing a Hole”.  Sometimes the melody was there and sometimes it was transformed in a musically psychedelic way that went quite a distance from the original.  But the use of the Hammond Organ and Clavinet themselves provided reassurance that they wouldn’t go too far.  The performances were blazingly intense and the whole house felt it.

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We again were treated to soul with backup singers as Nino Moschella transformed the innocent ballad of adolescent alienation, “She’s Leaving Home”, into a more darkly hued version that seemed to reflect an understanding of the loss of that innocence that we all must face eventually.  Nothing somber here but clearly a different understanding consistent with the overall mission of having another generation’s way of remembering this material.

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South Asian music and philosophy are inextricably linked to the psychedelic sounds of the mid to late 1960s and nowhere is this more obvious than with the Beatles whose study of Transcendental Meditation with their guru Maharishi Mahesh Yogi (born Mahesh Prasad Varma 1918-2008) while George Harrison studied sitar with Pandit Ravi Shankar (1920-2012).

Rohan Krishnamurthy (Mridangam, Hadjira frame drum), Prasant Radakrishnan (saxophone), and Colin Hogan (keyboard) share credits for their creative instrumental arrangement of “For Mr. Kite”.  Eschewing lyrics (which are etched in most of the audience’s minds anyway) they performed a stunningly unique rendition of this familiar song. Interestingly these musicians trace their influences to the southern Indian Carnatic tradition (somewhat different from the Hindustani traditions which influenced the Beatles) adding yet another layer of richness to the evening’s goings on.

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Colin Hogan indicts himself yet again in his arrangement of “Within You Without You”, that spacey Hindustani inflected song.  The Hogan Brothers (Steve Hogan, bass; Colin Hogan, accordion; Julian Hogan, drums; Moorea Dickason, vocals; Charlie Gurke, baritone sax) turned in a marvelous world fusion rendition of the tune (lyrics and all) to a hugely appreciative response.

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Iranian born Sahba Minikia, steeped in both Iranian and western classical traditions provided a touching arrangement of the classic, “When I’m Sixty Four”.  Featuring Mina Momeni on guitar and vocals (on video) accompanied by the Awesöme Orchestra in a song whose premise looks to the future as far as this evening looked into the past to ponder the endurance of romance.

In retrospect it is almost surprising that the marvelous diversity didn’t generate a presidential tweet of dissatisfaction.  Indeed a woman singing would produce more than a tweet of dissatisfaction in Tehran, birthplace of photographer and singer Momemi who also teaches visual arts in Canada.

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Vocalist Kendra McKinley practically turned “Lovely Rita” into a feminist anthem with some retro pop group choreography and background vocals to boot.  The visuals and the energy of the performance practically had the whole house dancing.

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Soltrón added Latin percussion and energetic dance to the already electrified atmosphere with their arrangement of the raucous “Good Morning”.  Kendra McKinley could be seen and heard tying in her energy from the previous performance as backup singer here.

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Lyz Luke stepped in to introduce the penultimate Sgt Pepper Reprise.

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The dancing energy was carried on by the colorful and energetic dancers of Non-Stop Bhangra.  They accompanied Rohan Krishnamurthy and Otis McDonald in Joe Bagale’s rocking arrangement (replete with lyrics) of the reprise of the opening.  It was like a live action version of the studio executed original performance with a stage filled with ecstatic musicians and dancers.

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Joe Bagale in his Sgt Pepper duds sings the lyrics hoping we’d enjoyed the show.

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The apocalyptic, “A Day in the Life” concluded the mission of homage and nostalgia in a bigger than life tableau of talent and diversity that connected the “there and then” to the “here and now”.  The famous extended last chord crashed in a peak of energetic music making to bring the performances to a close.

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The visuals were strongly reminiscent of the iconic album cover.

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There was no need to encourage the audience to sing along to the encore of “All You Need is Love”.  Fifty years hence we still need it and if we still don’t have it everywhere at least we had it here this night.

 

Of Mourning and Unity, 2016


 

oliverosolstice20160075Every year on June 21st, the Summer Solstice, there is a rather unique concert event in which musicians from the Bay Area and beyond gather in celebratory splendor in the sacred space of the Chapel of the Chimes in Oakland.  The chapel is a columbarium  (a resting place for cremated remains) and a mausoleum.  The space is in part the work of famed California architect Julia Morgan.

On December 19th Sarah Cahill with New Music Bay Area secured permission to use this space for four hours from 11AM to 3PM.  She invited many musicians who had been involved in one way or another with Pauline Oliveros whose death preceded by a week or two the tragic “Ghost Ship Fire” as it’s become known.  The idea was to pay homage to both this wonderful theorist, composer, performer and teacher and also to pay homage and to mourn the losses of some 36 young artists who will now never realize their ambitions.

What follows here is a simple photo essay of my personal impressions of this event.  The slant of the winter light added a dimension to those beautiful spaces as a large roster of musicians played pieces by and about Pauline Oliveros.  It was a lovely and reverent experience.

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The angle of the winter light adds its dimension.

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Christopher Bailey: Glimmering Webs, New Piano Music


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I admit to some trepidation when I received this 2 disc set of piano music by an unfamiliar composer.  Even in the best of circumstances the “double album” concept can be a trying thing even to fans of a given artist.  I think I recall some similar trepidation confronting the newly released Elton John Yellow Brick Road double album.  I invoke some pop sensibility here in part for humor but also because that sensibility is one of the many threads that imbue this rather massive collection of pieces.

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Christopher Bailey

Christopher Bailey is a freelance composer who holds degrees from Eastman (BA, 1995) and Columbia University (MA, 1997 and PhD, 2002).  This is the eighth disc to contain his music though only the second to be dedicated entirely to his works (and his first double album).

The first disc is a journey of styles ranging from electroacoustic music (like the opening track which resembles the work of Mario Davidovsky at times) to several whose inspiration seems to venture closer to that of Pierre Boulez and ends with a lengthy sort of post minimalist piece appropriately titled, Meditation.  The composer says in his liner notes that this piece is his homage to “ambient music” and in particular, Harold Budd. The second track is a piece which is a sort of deconstruction of a Hall and Oates song, the pop sensibility to which I referred earlier.  And, yes, there is some nod to microtonalism as well.  Can you say eclectic?

The second disc contains the large Piano Sonata and a host of smaller works in various styles ranging from neo-classical to microtonal.

In the rambling liner notes the composer provides useful clues as to the genesis and intent of some of his ideas.  One need not read the notes to appreciate the music but the clarity that they provide was useful to this listener. More notes would have been appreciated though.  The composer’s and the pianists’ web sites are certainly useful but I doubt that the average listener will spend that much time researching these things and is then left with gaps in information and consequently in understanding.

The composition dates here range from 1994 to 2013 and embrace a wide swath of styles all with a strongly virtuosic aspect.  The second disc starts with the brief Prelude-Fantasy on the So-Called Armageddon Chord (2011).  The title is almost longer than the piece and, while it’s a fine work, the placement at the beginning of the disc preceding the major opus of his four movement Piano Sonata (1994/1996/2006) is a bit confusing.

I don’t mean to quibble with such things as track order and such but I was left with a sense of difficulty focusing.  Here is a large collection of music which ranges through pretty much the entire gamut of the last 200 years of music and it is presented en masse.  I think some re-ordering might have been helpful but that is one of the difficulties with multiple disc issues.  I listened numerous times to these discs and find the sheer volume and diversity a bit overwhelming.  It is as though this is too much for a single release.

Bailey says that the sonata is an homage to Stravinsky and those neo-classical elements are certainly clear but this listener hears some ghosts of Charles Ives and the polystylism of Alfred Schnittke as well.  The Sonata seems to be the highlight here.   It is wonderfully complex, kaleidoscopic, loaded with quotation, even grandiose at times, but eminently listenable and it is a highly entertaining piece also because of it’s virtuosity which is ably handled by the performer.

There are apparently three pianists on this recording, Jacob Rhodebeck, Shiau-Uen Ding and Augustus Arnone.  The problem is that it is not clear from the labeling or the notes who plays what.  This is actually a fascinating and engaging collection, well played, but I was surprised to be unable to attribute the various virtuosities to the deserving performers.

The recording, mastered by Silas Brown, is as good as it gets.  Overall quite a collection but one that left me with many questions as well.  Perhaps that was, at least partly, the intent but it is my hope that these ambiguities will not distract the listener and that more releases will be forthcoming.  This is very interesting music deserving of serious attention.

 

 

 

E-Do: Yeominrok, Wonderful Korean Musical Fusion


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Call it world music, call it jazz, call it fusion but whatever the description this is an innovative and fascinating musical journey.  Using traditional Korean instruments as well as the usual keyboards, vocals, and drums this group of young musicians crafts a very interesting and beautiful tapestry of sound.

I have long had an interest in and some appreciation of traditional Korean musics and instruments but my knowledge is rather limited.  I am inclined to compare this group to Oregon, the iconic jazz/new age experimental band of the 1970s but unlike Oregon’s more widely cast net we see young musicians embracing their ancient Korean musical heritage as they seek to express themselves and invoke the wisdom of their ancestors.  This album was sent to me as a gift from a friend but I quickly fell in love with it and I had to write a review.

It seems to me that Korea has, more than many countries, been damaged and stunted by the antics that became known as World War II and the Korean War.  As a result this rich and ancient culture was nearly erased in favor of geographic division and political expediency.  It is heartening to find young artists such as these seeking to communicate with if not actually recover some of this rich past.

This band is named after a revered 15th century Korean king and they make liberal use of traditional Korean instruments alongside their drums, keyboards, and vocals.  The album succeeds to some degree in achieving a synthesis (as opposed to a sappy watering down) of traditional music and something like jazz with some rock and pop sensibility.  These are sincere and perceptive artists and if they have not fully succeeded then they have made a significant step toward reviving some of their justly valued history and culture.

In addition to its musical values this is a gorgeously produced album (visually and sonically) and I am sorry to see that only the digital download is available on Amazon.

There are six tracks on the disc and all feature traditional Korean instruments alongside the band’s keyboards, drums and vocals.  There are few vocals but no words as far as I can tell and any program is implied at best.  This is strictly about the music.

The first track, Bird of Oblivion, unfolds like an Indian raga with a meditative slow beginning giving way to a faster section.  It is the most extended work on the disc at 13:51 and it certainly serves to bdraw the listener in.  The remaining tracks range from pop-inflected jazz (track 3) to a little bit of rock .  Throughout the traditional Korean instruments make their presence known but not overwhelmingly.  This album is a pretty successful synthesis of old and new.

E Do consists of:

Kyung-hwa Ryu: chulhyungeum, yanggeum, janggu, kkwaenggwari

Chung Lim: drums, jungju, gong

Min-soo Cho: junggu, Korean drum, Korean fan, percussion

Jung-chul Seo: electronic bass, contrabass

Young-Sup Lee: daegeum, taepyeongso, danso, ocarina

Seung-hwan Yang: keyboards

Tae-young Kim: vocals

Young-goo Lee: daegum

Seek this one out.  And don’t forget to pick up some traditional Korean music as well.  It is well worth your time and, after all, a nod to the fine efforts of this wonderful group.

 

Couloir, a Wonderful New Cello and Harp Duo


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This is an beautiful album.  The main attraction is the world premiere recording of Serere (2012) by James B. Maxwell in two versions separated by a shorter piece by Nico Muhly.  Ravello Records brings us a wonderful Canadian duo, Couloir consisting of Ariel Barnes on cello and Heidi Krutzen on harp.

Maxwell, a Canadian composer, is new to this writer but the present work suggests that there is good reason to pay attention to this artist.  I’m not sure of the wisdom of two versions of the same piece on one disc but it does allow for close comparison.  It is basically an intimate and episodic piece of chamber music which is filled out with some electroacoustic material in the second version.  I don’t mean to sound dismissive because this is an engaging and enjoyable listen and a piece which seems to contain a certain depth and wisdom which suggests a well crafted work.  Both versions are clearly challenging from a technical aspect but all seems to be integrated in service of the music and not simply empty effects.  The second version of course has a fuller sound due to the augmentation of the electronics.  Both versions benefit from multiple listens and I certainly don’t intend to set this disc aside for a bit.

This is actually my first encounter with Nico Muhly’s work.  I have certainly heard of him but I am not familiar with any of his other work so I have nothing against which to compare the present piece except in the context of this disc.  Given that, this briefer piece, Clear Music (2003) is also finely wrought and engaging.  Maryliz Smith plays celeste on this track.  It functions basically as an interlude here but it does help clear the palate (so to speak) without taking the listener too far out of the musical context.

The recording from 2012 in Vancouver, British Columbia is clear and pleasant and the performances are simply wonderful.

 

 

 

 

 

The Piano is Calling Me: Nicolas Horvath’s New Music Pilgrimages


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Nicolas Horvath at the piano in Lyon

I first heard of this young Monacan pianist and composer when a composer friend, David Toub, told me that he was going to program one of this piano pieces.  That piece along with quite a few other performances are available on Nicolas Horvath’s You Tube video channel here.

Horvath developed a strong interest in contemporary music from Gerard Frémy among others and has been programming a great deal of new music ranging from the more familiar such as Philip Glass to a host of others including quite a few pieces written for or premiered by him as well as his own transcriptions and reconstructions.  He is known for his concerts in non-traditional venues with very non-traditional lengths of performance as well as traditional concerts.

His current projects include Night of Minimalism in which he performs continuously for 10-15 hours with a wide variety of minimalist and post-minimalist pieces and Glass Worlds in which he performs the complete solo piano works of Philip Glass (approximately 15 hours) along with pieces by an international list of composers written in tribute to Glass.  He is also an electroacoustic composer (he counts Francois Bayle among his teachers) and a visual artist all with a passion for contemporary works.

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The artist standing in one of his installations.

We had corresponded via e-mail over the last year or so and when I suggested the idea of interviewing him he responded by arranging time after a (traditional length) concert he gave in Minsk, Belarus on December 1, 2014.  I prepared for what I anticipated would be a one hour interview after which I imagined he would probably need to get to sleep.  But when I attempted to wrap up our conversation (at a couple of points) he immediately asked, “Don’t you have any more questions?”.  What followed resulted in approximately three and an half hours of delightful and wide-ranging conversation about this man and his art which he ended with the comment, “I must go, the piano is calling me.”  It appears that his seemingly boundless energy extends well beyond the stage.  The following January (2015) he gave the world premiere performance of all of Philip Glass’ 20 Etudes in none other than Carnegie Hall.

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Horvath with spent score pages as he traverses one of his extended performance ventures. (copyright Jean Therry Boisseau)

Since that time we have continued our correspondence and this affable, patient young artist continues on various projects and no sign of his interest or energy waning.  He recently sent me various photos of him in various settings pursuing his varied artistic interests for this article.

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Composer as well as performer in an electroacoustic performance without piano.

Horvath was born in Monaco in 1977.  He studied piano at the Académie de Musique Rainier III de Monaco and the École  Normale de Musique de Paris.  At 16, Lawrence Foster took notice of him in a concert and, securing a three year scholarship for him from the Princess Grace Foundation, was able to invite him to the Aspen Music Festival. After his studies in the École Normale de Musique in Paris, he worked for three years with
Bruno-Léonardo Gelber, Gérard Frémy who instilled in him a sensitivity to music of our time as well as Eric Heidsieck, Gabriel Tacchino, Nelson Delle-Vigne, Philippe Entremont and Oxana Yablonskaya. Leslie Howard got to know him and invited him to perform before the Liszt Society in the United Kingdom. He has been playing professionally for 7 years and puts his own characteristic style into his productions and performances.

In a move reminiscent of Terry Riley’s all night solo improv fests Horvath has performed several lengthy programs.  He has performed Erik Satie’s proto-minimalist Vexations (1893) in performances that ranged widely in length. One notable performance at the Palais de Tokyo lasted 35 hours, the longest solo piano performance on record as far as I can determine.  Previously this piece has been performed by tag teams of pianists (the first in 1967 in New York was curated by John Cage) to perform the 840 repetitions of the piece whose tempo or recommended duration is not specified.  Horvath, taking on a musicological mantle is preparing his own edition of this unique work.  He has published an 24 hour version on his You Tube channel here.

Given his intense schedule and vast repertoire he has been remarkably responsive and has an irrepressibly strong appetite for new music.  He tells me that he had worked on a project in which he planned to play all the piano music of the French composer Jean Catoire (1923-2005),  some 35 hours of material (in a single program, of course). Unfortunately that composer’s relative obscurity seems to have resulted  in insufficient support for the project which is, for now, on hold.  Here’s hoping that this can be realized sometime soon.

Horvath’s fascination with authenticity, completeness and performances of unconventional lengths uninterrupted by applause where audiences are invited to lay on the floor with blankets and sleeping bags and approach the piano seems unusual but he has been getting enthusiastic audiences and has enjoyed overflow crowds.  Like Terry Riley and perhaps even some of Keith Jarrett’s solo concerts there is a ritual feel to these marathon performances.  Regrettably I have not yet been able to attend one but I would love to partake in what must be a powerful shared experience.  He invites people to come to the piano and to watch, look at the score.  It is unlike the conventional recital and therein lies some of its charm.  At least one of his videos features a small sign which reads, “Don’t feed the pianist” and attests to his warmth and wonderful sense of humor.

His passion has parallels in his spirituality and he has pursued sacred pilgrimages which require a great deal of time and energy but without doubt fill a very deep and sincere need. More details and photos are available on his blog.  And, as with music, he is very open to discussing this very personal aspect of his life.

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The artist braving the elements on one of his pilgrimages.

There are conventional two hour with intermission style recitals in more conventional concert venues that he has played and Horvath also enjoys playing with an orchestra.  His performances of both of Philip Glass’ piano concertos can be viewed on You Tube and you can see the intensity of his execution.  This came through in the course of our interview as well when Mr. Horvath would speak of the music and then verbally imitate the rhythms (no doubt endlessly practiced) which drive his enthusiasm.  The music seems to be deeply integrated into his very being.

His first solo commercial recording was released in 2012.  It consists of Franz Liszt’s ‘Christus’, an oratorio composed in 1862-66 for narrator, soloists, chorus and orchestra.  Horvath plays a piano reduction done by the composer.  This is the first known recording of this unique and virtuosic set of piano works.  It is certainly an unusual choice for a debut recording but it is consistent with his very personal tastes.  (He lists Scriabin and Chopin as among his favorite composers.).   He is in the process of recording all of Philip Glass’ piano music for Grand Piano records distributed by Naxos.  At the time of this writing four well-received volumes have been released.  He is also planning to record all of Satie’s piano music and he has just recently released his rendition of Cornelius Cardew’s indeterminate masterpiece, Treatise.

I have seldom encountered a musician with such intensity and drive.  He is also one of the most skilled in using the internet to promote himself and his projects.  And though this is no doubt a man with a considerable ego he is in fact very unpretentious and very genuinely turned on, driven by the music itself.  Don’t get me wrong, he is concerned with developing his image and career but he seems happy to be doing the work he has been doing and he is, like any really good musician, self-critical and a perfectionist.

A quick look at his YouTube channel here reveals some of the range of his interests which include the standard repertoire along with interest in contemporary works.  Just released is a creative video with Horvath playing Glass’ Morning Passages while he apparently experiences a reverie involving a beautiful woman which could have been on MTV at its height.  Perhaps he is even channeling Oscar Levant who embraced roles in films along with his pianistic talents.  His website is a good resource for updates on his various projects and performances.

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Focused concentration at the keyboard.

As of the time of this writing his discography includes:

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Hortus Records 100 (2012)

A very unusual choice for a debut recording.  Nonetheless this is a distinctive recording which reflects the virtuosity as well as the careful scholarship which continues to characterize his work.  He managed to locate a couple of previously lost pieces in this set of composer transcriptions.  One also can’t miss the spiritual dimension here, as close to his heart as music and an equally important aspect of his personality.

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Grand Piano GP 677 (2015)

This first disc in the series manages to provide the listener with truly inspired interpretations of Glass’ keyboard oeuvre and gives us a world premiere recording of How Now as well.

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Grand Piano GP 690 (2015)

The complete Piano Etudes by the man who premiered the set at Carnegie Hall.  These etudes were also recorded by the wonderful Maki Namekawa and the opportunity to hear these really different takes is positively revelatory.

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Grand Piano GP 691 (2016)

The third disc in the traversal of Glass’ piano music (original and transcribed) also offers world premieres.  Horvath’s inclusion of Glass’ early Sonatina No. 2 reflects his work under the tutelage of Darius Milhaud and provides insight into the composer’s early development before he developed his more familiar mature style.

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Grand Piano GP 692 (2016)

Haven’t yet heard this disc but I have in queued for ordering in the next few weeks.

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Demerara Records (2016)

Haven’t heard this one yet either but, again, it’s in my Amazon shopping cart.

 

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Horvath’s interpretation of this important work by Cornelius Cardew

Cornelius Cardew (1936-1981) was sort of England’s John Cage, a major voice in 20th Century experimental music.  Scholarship has yet to do justice to the late composer’s work but this disc is an important contribution toward that end..

Horvath’s career is characterized by innovation and passion combined with astute scholarship and a keen sense of what is new and interesting in music  while clearly being schooled in the classic repertoire.  The piano calls him as do his other passions and I highly recommend paying attention as he answers those calls.  He is truly an artist to watch.
N.B.  Mr. Horvath generously read and approved an advance draft of this article shortly after arriving in the United States for concerts at Steinway Hall in Rockville with a Chopin program and a recital at The Spectrum in New York City which will include two pieces written for him by Michael Vincent Waller along with some Chopin pieces.