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Music of Bartok, Rozsa and Carter for Piano

Martin Perry

Music of Bartok, Rozsa and Carter for Piano

Format: CD
Label: Bridge
UPC: 0090404938825
Catnr: BRIDG 9388
Release date: 09 October 2015
1 CD
 
Label
Bridge
UPC
0090404938825
Catalogue number
BRIDG 9388
Release date
09 October 2015
Album
Artist(s)
Composer(s)
EN
DE

About the album

A proponent of the road less traveled, pianist Martin Perry is a native Californian of Armenian-American heritage. Much admired as an interpreter of modernist piano repertoire, he has appeared with orchestras from the Boston Pops to the Moscow Philharmonic. Perry is heard here in highly charged readings of two modern classics and one rarity- Miklos Rózsa's sonata, composed in 1948. Rózsa was best known for composing scores for more than 100 Hollywood films, but composed a great deal of concert music. His Piano Sonata, Op. 20 is the most substantial of his keyboard compositions, and the one which in its uncompromisingly dissonant and often percussive piano style seems most clearly imbued with the spirit of his fellow countryman, Béla Bartók. Next month Bridge Records will issue Perry's recording of Charles Ives's "Concord" Sonata, in the premiere recording of John Kirkpatrick's final edition of the work.

**** - Audiophile Audition
Der aus Kalifornien stammende Pianist mit armenischen Wurzeln Martin Perry, der vor allem für seine Interpretationen modernistischen Klavierrepertoires bekannt ist, überzeugt hier mit Werken von Bartók, Carter und Rósza.

Artist(s)

Martin Perry

Martin Perry is an American pianist who, while well-versed in many genres, has established himself as a specialist in modernist music. Raised in Sacramento, California, Perry studied piano with Patricia Taylor Lee, Thomas Schumacher, and Adele Marcus (a pupil of Russian pianist Josef Lhévinne), and attended the University of Maryland and Juilliard. Following a debut recital at Carnegie Hall, Perry toured the United States. He has performed with the Boston Pops, the Portland Symphony Orchestra, the Arkansas Symphony, the Florida Philharmonic, the Baltic Philharmonic, and the Moscow Philharmonic. He has performed chamber music with the Cassatt Quartet and the DaPonte Quartet and is a member of the Nordica Trio. His wide repertoire includes early Romantic works by Mendelssohn, Chopin, and...
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Martin Perry is an American pianist who, while well-versed in many genres, has established himself as a specialist in modernist music. Raised in Sacramento, California, Perry studied piano with Patricia Taylor Lee, Thomas Schumacher, and Adele Marcus (a pupil of Russian pianist Josef Lhévinne), and attended the University of Maryland and Juilliard. Following a debut recital at Carnegie Hall, Perry toured the United States. He has performed with the Boston Pops, the Portland Symphony Orchestra, the Arkansas Symphony, the Florida Philharmonic, the Baltic Philharmonic, and the Moscow Philharmonic. He has performed chamber music with the Cassatt Quartet and the DaPonte Quartet and is a member of the Nordica Trio. His wide repertoire includes early Romantic works by Mendelssohn, Chopin, and Schumann, which he performs on fortepiano, and he devotes much of his time promoting the 20th century works of Charles Ives, Alan Hovhaness, and Charles Tomlinson Griffes. He has recorded solo piano music for Bridge, and writes a blog on music, Con Spirito.

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Composer(s)

Béla Bartók

Next to Arnold Schoenberg and Igor Stravinsky, Béla Bartók was a third seminal innovator of European art music at the start of the twentieth century. Bartók, too, sought a way out of the deadlock of tonal music around 1900, and he found it in folk music. Initially, he tied in with the nationalistic tradition of Franz Liszt with his tone poem Kossuth, but eventually he found his own voice with the rediscovery of the music of Hungarian peasants. Together with Zoltán Kodály he was one of the first to apply the results of folkloric research into his own compositions. One major difference between him and composers of the 19th century, was that Bartók did not adjust to the system of tonality, but created...
more
Next to Arnold Schoenberg and Igor Stravinsky, Béla Bartók was a third seminal innovator of European art music at the start of the twentieth century. Bartók, too, sought a way out of the deadlock of tonal music around 1900, and he found it in folk music. Initially, he tied in with the nationalistic tradition of Franz Liszt with his tone poem Kossuth, but eventually he found his own voice with the rediscovery of the music of Hungarian peasants. Together with Zoltán Kodály he was one of the first to apply the results of folkloric research into his own compositions. One major difference between him and composers of the 19th century, was that Bartók did not adjust to the system of tonality, but created his own musical idiom from folk music. Because of this, his composition style was flexible to other musical trends, without having to violate his own view points. For example, his two Violin sonates come close to Schoenberg's free expressionism, and after 1926 his music started to show neoclassicistic tendencies, comparable to Stravinsky's music. Bartók was not just interested in Hungarian folk music, but could appreciate musical folklore from all of the Balkan, Turkey and North-Africa as well.
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Elliott Carter

The hundredth birthday of Elliott Carter on December 11th, 2008, led to the a large number of concerts in his honour around the world (such as a three day festival in Amsterdam). Yet, the composer never became truly popular among the wider public. And it doesn't matter: in more than way the orthodoc composer had time on his side. He did non find his own style until the 1940s, in works such as his Sonata for Cello and Piano and his First String Quartet: compositions in which the various instrumenten seem to follow different paths from each other. It was the start of a body of works that paid tribute to both the Europe of Schoenberg, Debussy and Stravinsky, and...
more
The hundredth birthday of Elliott Carter on December 11th, 2008, led to the a large number of concerts in his honour around the world (such as a three day festival in Amsterdam). Yet, the composer never became truly popular among the wider public. And it doesn't matter: in more than way the orthodoc composer had time on his side. He did non find his own style until the 1940s, in works such as his Sonata for Cello and Piano and his First String Quartet: compositions in which the various instrumenten seem to follow different paths from each other. It was the start of a body of works that paid tribute to both the Europe of Schoenberg, Debussy and Stravinsky, and the American Modernism of Ives and Varèse.
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Press

Play album Play album
01.
Improvisations on Hungarian Peasant Songs, Op. 20: I. Molto moderato
01:21
(Elliott Carter, Bela Bartok, Miklos Rozsa) Martin Perry
02.
Improvisations on Hungarian Peasant Songs, Op. 20: II. Molto capriccioso
01:04
(Elliott Carter, Bela Bartok, Miklos Rozsa) Martin Perry
03.
Improvisations on Hungarian Peasant Songs, Op. 20: III. Lento, rubato
02:04
(Elliott Carter, Bela Bartok, Miklos Rozsa) Martin Perry
04.
Improvisations on Hungarian Peasant Songs, Op. 20: IV. Allegretto scherzando
00:44
(Elliott Carter, Bela Bartok, Miklos Rozsa) Martin Perry
05.
Improvisations on Hungarian Peasant Songs, Op. 20: V. Allegro molto
00:59
(Elliott Carter, Bela Bartok, Miklos Rozsa) Martin Perry
06.
Improvisations on Hungarian Peasant Songs, Op. 20: VI. Molto capriccioso
01:38
(Elliott Carter, Bela Bartok, Miklos Rozsa) Martin Perry
07.
Improvisations on Hungarian Peasant Songs, Op. 20: VII. Sostenuto, rubato
02:11
(Elliott Carter, Bela Bartok, Miklos Rozsa) Martin Perry
08.
Improvisations on Hungarian Peasant Songs, Op. 20: VIII. Allegro
01:54
(Elliott Carter, Bela Bartok, Miklos Rozsa) Martin Perry
09.
Piano Sonata, Op. 20: I. Calmo
06:03
(Elliott Carter, Bela Bartok, Miklos Rozsa) Martin Perry
10.
Piano Sonata, Op. 20: II. Andante con calore
06:05
(Elliott Carter, Bela Bartok, Miklos Rozsa) Martin Perry
11.
Piano Sonata, Op. 20: III. Allegro giusto e vigoroso
06:32
(Elliott Carter, Bela Bartok, Miklos Rozsa) Martin Perry
12.
Piano Sonata 1945-1946 (Revised 1982): I. Maestoso/Legato scorrevole
10:06
(Elliott Carter, Bela Bartok, Miklos Rozsa) Martin Perry
13.
Piano Sonata 1945-1946 (Revised 1982): II. Andante
13:10
(Elliott Carter, Bela Bartok, Miklos Rozsa) Martin Perry
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