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Some Like it Plucked
Various composers

Patrick Ayrton

Some Like it Plucked

Price: € 19.95 13.97
Format: CD
Label: Globe
UPC: 8711525527201
Catnr: GLO 5272
Release date: 05 April 2019
old €19.95 new € 13.97
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19.95 13.97
old €19.95 new € 13.97
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Label
Globe
UPC
8711525527201
Catalogue number
GLO 5272
Release date
05 April 2019

"An absolute must for every lover of harpsichord sound."

Luister, 08-11-2019
Album
Artist(s)
Composer(s)
Press
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About the album

On Some Like it Plucked harpsichordist, organist and conductor Patrick Ayrton successfully combines jazz and 20th century piano pieces in arrangements for harpsichord. Ayrton's ensemble Les Inventions and violinist Thomas Gould join in for the pièce de résistance of this album: Joseph Horovitz' 1965 Jazz Harpsichord Concerto. In this highly entertaining concerto, Horovitz ingeniously crosses Vivaldian sonata and concerto forms with Gershwinian harmonies in what the composer describes himself as “an attempt to fuse Baroque structures into a modern conception of swing texture”. https://youtu.be/67etuh97olw
Op Some Like it Plucked combineert klavecinist, organist en dirigent Patrick Ayrton op succesvolle wijze jazz en 20e -eeuwse pianostukken in bewerkingen voor klavecimbel. Ayrtons ensembles Les Inventions en violist Thomas Gould voegen zich bij hem in het pièce de résistance van dit album: het Jazz Harpsichord Concerto van Joseph Horowitz uit 1965. In dit zeer vermakelijke concert kruist Horowitz op ingenieuze wijze Vivaldiaanse sonate- en concertvormen met Gershwiniaanse harmonieën in wat de componist zelf beschrijft als “een poging om barokstructuren te versmelten in een modern idee van swingtextuur.”

Bekijk ook de documentaire over dit stuk.
Auf Some Like It Plucked kombiniert Cembalist, Organist und Dirigent Patrick Ayrton mit Erfolg Jazz und Klavierstücke des 20. Jahrhunderts in Arrangements für Cembalo. Ayrtons Ensemble Les Inventions und Violinist Thomas Gould stoßen für das Schaustück des Albums hinzu: Joseph Horovitz‘ Jazz Harpsichord Concerto aus dem Jahre 1965. In diesem höchst unterhaltsamen Konzert kreuzt Horovitz auf geniale Weise Vivaldische Sonaten- und Konzertformen mit Gerschwinesken Harmonien in etwas, das der Komponist selbst beschreibt als „Versuch, barocke Strukturen in die moderne Vorstellung von Swing-Textur zu schmelzen“. https://youtu.be/67etuh97olw

Artist(s)

Patrick Ayrton (harpsichord)

Patrick Ayrton divides his time between performance on a variety of keyboards and his work as a conductor. He currently teaches thorough-bass, chamber music and improvisation at the Royal Conservatory of the Hague. He has been a tutor for the European Union Baroque Orchestra audition courses and has given masterclasses at the Tchaikovsky Conservatory and Gnessin School in Moscow, the Yonsei University of Seoul, the Latvian Academy in Riga and the Summer School of the Salzburg Mozarteum. Patrick Ayrton is the central figure in a documentary film based on Tregian’s Ground, a prize-winning novel by the Swiss writer Anne Cuneo. His association and collaboration with the Dutch conductor Arie van Beek has led him to develop his skills as a music...
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Patrick Ayrton divides his time between performance on a variety of keyboards and his work as a conductor. He currently teaches thorough-bass, chamber music and improvisation at the Royal Conservatory of the Hague. He has been a tutor for the European Union Baroque Orchestra audition courses and has given masterclasses at the Tchaikovsky Conservatory and Gnessin School in Moscow, the Yonsei University of Seoul, the Latvian Academy in Riga and the Summer School of the Salzburg Mozarteum. Patrick Ayrton is the central figure in a documentary film based on Tregian’s Ground, a prize-winning novel by the Swiss writer Anne Cuneo.
His association and collaboration with the Dutch conductor Arie van Beek has led him to develop his skills as a music director. In recent years, he has received invitations to conduct orchestras of repute such as the Orchestra of the Auvergne, the Chamber Academy of Potsdam, the Dijon-Bourgogne Orchestra, the Pasdeloup Orchestra in Paris, the Nordic Chamber Orchestra (Sweden), the Symphony Orchestra of Cannes, the Latvian Radio Choir, the Chamber Orchestra of Munich or the Sofia Philharmonic Orchestra. Patrick Ayrton is also the founder of the Les Inventions, a period ensemble which explores uncharted 18th century repertoire, such as the works of Joseph Touchemoulin and Thomas Linley. Les Inventions work in close partnership with acclaimed British vocal ensemble VOCES8.
Patrick Ayrton is also known for his pre-concert talks and is a regular lecturer. From 2004 to 2016, he was artistic director of the Bach en Combrailles Festival in France. In the season 2016-17, he conducted the Sofia Philharmonic Orchestra in a cycle of 6 concerts featuring Baroque, Classical and Neo-Classical repertoire.

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Thomas Gould (violin)

Thomas Gould performs as soloist with orchestras worldwide including the Royal Philharmonic Orchestra, City of Birmingham Symphony Orchestra, Hallé Orchestra, LA Phil New Music Group, Orchestre Symphonique de Bretagne and West Australian Symphony Orchestra, collaborating with conductors such as John Adams, Nicholas Collon, Paul Daniel and Robin Ticciati. Leader of Aurora Orchestra and associate leader of Britten Sinfonia, Gould appears as soloist and director with both groups and also collaborates regularly with Sinfonietta Riga. Thomas is a guest concertmaster of London Sinfonietta and Mahler Chamber Orchestra, also appearing in the Lucerne Festival Orchestra. The dedicatee of Nico Muhly’s concerto for six string electric violin Seeing is Believing, Thomas's recording of this work for Decca Classics received widespread critical acclaim. His other releases...
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Thomas Gould performs as soloist with orchestras worldwide including the Royal Philharmonic Orchestra, City of Birmingham Symphony Orchestra, Hallé Orchestra, LA Phil New Music Group, Orchestre Symphonique de Bretagne and West Australian Symphony Orchestra, collaborating with conductors such as John Adams, Nicholas Collon, Paul Daniel and Robin Ticciati. Leader of Aurora Orchestra and associate leader of Britten Sinfonia, Gould appears as soloist and director with both groups and also collaborates regularly with Sinfonietta Riga. Thomas is a guest concertmaster of London Sinfonietta and Mahler Chamber Orchestra, also appearing in the Lucerne Festival Orchestra. The dedicatee of Nico Muhly’s concerto for six string electric violin Seeing is Believing, Thomas's recording of this work for Decca Classics received widespread critical acclaim. His other releases on Champs Hill Records include two albums with his swing band Man Overboard Quintet and one with the Artea Quartet. For Harmonia Mundi, Thomas has recorded Bach’s The Goldberg Variations (in Dmitry Sitkovetsky’s transcription) directing Britten Sinfonia. In 2014 he signed a four- album contract with Edition Classics. Thomas is an associate of the Royal Academy of Music where he studied with György Pauk, and a former Young Concert Artists Trust (YCAT) winner. He plays a 1782 J.B. Guadagnini violin.
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Composer(s)

Aaron Copland

Aaron Copland was an American composer, pianist, conductor and music pedagogue, who is regarded as the most important representative of the American modern composers, who are known for their preference for theatre music. Critics and peers referred to him as ‘the Dean of American Composers’. During the 1920s Copland studied three years with Nadia Boulanger in Paris. Her total grasp of classical music became his most important influence, and led him to compose music in various genres and numerous settings, including opera, ballet, music for film, theatre, orchestra, piano and small ensemble. During his studies in Paris Copland encountered the music of Ravel, Satie, and the members of Les Six, which impressed him. However, his greatest hero and favorite 20th-century composer...
more
Aaron Copland was an American composer, pianist, conductor and music pedagogue, who is regarded as the most important representative of the American modern composers, who are known for their preference for theatre music. Critics and peers referred to him as ‘the Dean of American Composers’.
During the 1920s Copland studied three years with Nadia Boulanger in Paris. Her total grasp of classical music became his most important influence, and led him to compose music in various genres and numerous settings, including opera, ballet, music for film, theatre, orchestra, piano and small ensemble. During his studies in Paris Copland encountered the music of Ravel, Satie, and the members of Les Six, which impressed him. However, his greatest hero and favorite 20th-century composer was not French: it was the Russian Igor Stravinsky. Copland admired him for his typically Russian music, and wanted to express the music of his native country in his compositions just like him. For that purpose he drew inspiration from jazz, which rhythms and harmonies can be found in his early compositions.
During the 1930s and 1940s, when Copland had returned to America, the jazz gave way to (Latin) American folk tunes, which he arranged in a number of accessible compositions , which made him well-known to a wide audience: the ballets Billy the Kid, Rodeo and Appalachian Spring, the Third Symphony, El Salón México and the Fanfare for the Common Man. These are Copland’s best known works, which are still regularly performed and recorded.
During the 1950s Copland distanced himself from the popular tendencies in his compositions, and began to use serialist and twelve-tone techniques in his music in an attempt to join the modern composers.
From the 1960s onwards Copland began to focus on conducting, since he did not have any new ideas for compositions. He became a frequent guest conductor of orchestras in the United States and made a series of recordings of his music.

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George Gershwin

George Gershwin was an American composer, who is mostly known due to his combinations of classical and popular music genres. George Gershwin grew up in a poor neighbourhood in New York. His parents were Russian immigrants who had trouble making ends meet. They did, however, decide to purchase an old piano so Ira Gershwin could study to become a musician. Yet, it turned out not Ira, but his younger brother George showed remarkable talent. Ira applied himself to writing song lyrics and together the Gershwin brothers became absolute greats in the world of 20th century musicals. Nowadays, George's compositions are still relevant, as is evidenced by the many performances of his Rhapsody in Blue from 1924. But the best example is the ageless Summtertime,...
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George Gershwin was an American composer, who is mostly known due to his combinations of classical and popular music genres.

George Gershwin grew up in a poor neighbourhood in New York. His parents were Russian immigrants who had trouble making ends meet. They did, however, decide to purchase an old piano so Ira Gershwin could study to become a musician. Yet, it turned out not Ira, but his younger brother George showed remarkable talent. Ira applied himself to writing song lyrics and together the Gershwin brothers became absolute greats in the world of 20th century musicals. Nowadays, George's compositions are still relevant, as is evidenced by the many performances of his Rhapsody in Blue from 1924. But the best example is the ageless Summtertime, which has been covered a countless number of times by a countless number of artists.


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Igor Stravinsky

Igor Fyodorovich Stravinsky was a Russian composer, pianist, and conductor. He is widely considered one of the most important and influential composers of the 20th century.   Stravinsky's compositional career was notable for its stylistic diversity. He first achieved international fame with three ballets commissioned by the impresario Sergei Diaghilev and first performed in Paris by Diaghilev's Ballets Russes: The Firebird (1910), Petrushka (1911) and The Rite of Spring (1913). The last of these transformed the way in which subsequent composers thought about rhythmic structure and was largely responsible for Stravinsky's enduring reputation as a musical revolutionary who pushed the boundaries of musical design. His 'Russian phase' which continued with works such as Renard, The Soldier's Tale and Les Noces, was followed...
more
Igor Fyodorovich Stravinsky was a Russian composer, pianist, and conductor. He is widely considered one of the most important and influential composers of the 20th century.
Stravinsky's compositional career was notable for its stylistic diversity. He first achieved international fame with three ballets commissioned by the impresario Sergei Diaghilev and first performed in Paris by Diaghilev's Ballets Russes: The Firebird (1910), Petrushka (1911) and The Rite of Spring (1913). The last of these transformed the way in which subsequent composers thought about rhythmic structure and was largely responsible for Stravinsky's enduring reputation as a musical revolutionary who pushed the boundaries of musical design. His "Russian phase" which continued with works such as Renard, The Soldier's Tale and Les Noces, was followed in the 1920s by a period in which he turned to neoclassical music. The works from this period tended to make use of traditional musical forms (concerto grosso, fugue and symphony), drawing on earlier styles, especially from the 18th century. This style was often referred to as Neoclassicism. In the 1950s, Stravinsky adopted serial procedures. His compositions of this period shared traits with examples of his earlier output: rhythmic energy, the construction of extended melodic ideas out of a few two- or three-note cells and clarity of form, and of instrumentation.

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Alfred Schnittke

Alfred Schnittke was the son to German-Jewish father and Volga-German mother from Frankfurt am Main. His musical education started in 1946 in Vienna, where his father worked as a journalist and translator, and from 1948 he continued his studies in Moscow. From the 1970s, he would fully dedicate himself to composing.  Schnittke's style was initially avant garde, strongly influenced by the Western composition techniques such as serialism and aleatorism. Like so many of his generation, Schnittke found these techniques to be unsatisfactory, and so he created his own style which he called polystylism, inspired by Charles Ives, Luciano Berio and Bernd Alois Zimmermann, but also Gustav Mahler,It is characterised by the parodic combinations of styles from different periods, by some recognised as postmodernism.   
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Alfred Schnittke was the son to German-Jewish father and Volga-German mother from Frankfurt am Main. His musical education started in 1946 in Vienna, where his father worked as a journalist and translator, and from 1948 he continued his studies in Moscow. From the 1970s, he would fully dedicate himself to composing. Schnittke's style was initially avant garde, strongly influenced by the Western composition techniques such as serialism and aleatorism. Like so many of his generation, Schnittke found these techniques to be unsatisfactory, and so he created his own style which he called polystylism, inspired by Charles Ives, Luciano Berio and Bernd Alois Zimmermann, but also Gustav Mahler,It is characterised by the parodic combinations of styles from different periods, by some recognised as postmodernism.


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Erroll Garner

One of the most distinctive of all pianists, Erroll Garner proved that it was possible to be a sophisticated player without knowing how to read music, that a creative jazz musician can be very popular without watering down his music, and that it is possible to remain an enthusiastic player without changing one's style once it is formed. A brilliant virtuoso who sounded unlike anyone else, on medium tempo pieces, Erroll Garner often stated the beat with his left hand like a rhythm guitar while his right played chords slightly behind the beat, creating a memorable effect. His playful free-form introductions (which forced his sidemen to really listen), his ability to play stunning runs without once glancing at the keyboard, his grunting, and the...
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One of the most distinctive of all pianists, Erroll Garner proved that it was possible to be a sophisticated player without knowing how to read music, that a creative jazz musician can be very popular without watering down his music, and that it is possible to remain an enthusiastic player without changing one's style once it is formed. A brilliant virtuoso who sounded unlike anyone else, on medium tempo pieces, Erroll Garner often stated the beat with his left hand like a rhythm guitar while his right played chords slightly behind the beat, creating a memorable effect. His playful free-form introductions (which forced his sidemen to really listen), his ability to play stunning runs without once glancing at the keyboard, his grunting, and the pure joy that he displayed while performing were also part of the Erroll Garner magic.

Garner, whose older brother Linton was also a fine pianist, appeared on the radio with the Kan-D-Kids at the age of ten. After working locally in Pittsburgh, he moved to New York in 1944 and worked with Slam Stewart's trio during 1944-1945 before going out on his own. By 1946, Garner had his sound together, and when he backed Charlie Parker on his famous Cool Blues session of 1947, the pianist was already an obvious giant. His unclassifiable style had an orchestral approach straight from the swing era but was open to the innovations of bop. From the early '50s on, Garner's accessible style became very popular and he never seemed to have an off day up until his forced retirement (due to illness) in early 1975. His composition "Misty" became a standard. Garner, who had the ability to sit at the piano without prior planning and record three albums in one day (all colorful first takes), made many records throughout his career for such companies as Savoy, Mercury, RCA, Dial, Columbia, EmArcy, ABC-Paramount, MGM, Reprise, and his own Octave label.


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Erwin Schulhoff

Erwin Schulhoff is amongst the composers who have fallen into oblivion, and yet played an important role in the history of music. Dvorak already noticed him when he was a young boy, because of his musical talent and interest in everything new. Schulhoff was one of the first European composers to find inspiration in jazz. He mainly made use of harmonic and rhythmic elements and dances like the foxtrot, charleston and shimmy. After the First World War, he also embraced the influence of Dadaism and composed a few pieces with absurd elements, such as In futurum, which consists entirely of rests. In the 1930s, Schulhoff became a sympathizer of communism under influence of his friends, as a result of which he was...
more
Erwin Schulhoff is amongst the composers who have fallen into oblivion, and yet played an important role in the history of music. Dvorak already noticed him when he was a young boy, because of his musical talent and interest in everything new.
Schulhoff was one of the first European composers to find inspiration in jazz. He mainly made use of harmonic and rhythmic elements and dances like the foxtrot, charleston and shimmy. After the First World War, he also embraced the influence of Dadaism and composed a few pieces with absurd elements, such as In futurum, which consists entirely of rests.
In the 1930s, Schulhoff became a sympathizer of communism under influence of his friends, as a result of which he was not permitted to perform in Germany. Due to his Jewish descent and radical politic interests his music became labeled as ‘Entartete Musik’. His communist sympathies also brought him trouble in Czechoslovakia, were he had to work under a pseudonym after the invasion of the Nazis. In 1941, the Soviet Union approved his petition for citizenship, but he was arrested and deported to a concentration camp before he could leave Czechoslovakia.
Schulhoff was admired by his acquaintances, and recognized as a promising, gifted talent. As a pianist he was known as a virtuoso with brilliant technique and a strong touch.
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Francis Poulenc

Francis Jean Marcel Poulenc was a French composer and pianist. Poulenc's wealthy family intended him for a business career in the Rhone Poulenc family company and did not allow him to enrol at a music college. Largely self-educated musically, he studied with the pianist Ricardo Viñes, who became his mentor after the composer's parents died. Poulenc soon came under the influence of Erik Satie, under whose tutelage he became one of a group of young composers known collectively as Les Six. This group of French composers from the 1920s aimed to clear music of the impressionism of Claude Debussy, and German influences such as the Romanticism of Richard Wagner and Richard Strauss. Their motto was 'L'art pour l'art': they composed music for the sake of...
more
Francis Jean Marcel Poulenc was a French composer and pianist. Poulenc's wealthy family intended him for a business career in the Rhone Poulenc family company and did not allow him to enrol at a music college. Largely self-educated musically, he studied with the pianist Ricardo Viñes, who became his mentor after the composer's parents died. Poulenc soon came under the influence of Erik Satie, under whose tutelage he became one of a group of young composers known collectively as Les Six. This group of French composers from the 1920s aimed to clear music of the impressionism of Claude Debussy, and German influences such as the Romanticism of Richard Wagner and Richard Strauss. Their motto was "L'art pour l'art": they composed music for the sake of music, without any 'meaning' or extramusical intents. In his early works Poulenc became known for his high spirits and irreverence. During the 1930s a much more serious side to his nature emerged, particularly in the religious music he composed from 1936 onwards, which he alternated with his more light-hearted works.

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Press

An absolute must for every lover of harpsichord sound.
Luister, 08-11-2019

The full sound and sonorous bass of the German harpsichord are very surprising.
De Volkskrant, 09-5-2019

Play album Play album
01.
I Got Rhythm
01:29
(George Gershwin) Patrick Ayrton
02.
Bach Goes to Town: (Prelude and Fugue in Swing)
03:14
(Alec Templeton) Patrick Ayrton
03.
Suite in the Old Style: Pastorale
03:39
(Alfred Schnittke) Thomas Gould, Patrick Ayrton
04.
Suite in the Old Style: Ballet
02:19
(Alfred Schnittke) Thomas Gould, Patrick Ayrton
05.
Suite in the Old Style: Menuet
03:08
(Alfred Schnittke) Thomas Gould, Patrick Ayrton
06.
Suite in the Old Style: Fugue
02:27
(Alfred Schnittke) Thomas Gould, Patrick Ayrton
07.
Suite in the Old Style: Pantomime
03:46
(Alfred Schnittke) Patrick Ayrton, Thomas Gould
08.
I Can't Get Started With You
02:34
(Erroll Garner) Patrick Ayrton
09.
2ème Gnossienne
02:15
(Erik Satie) Patrick Ayrton
10.
Esquisses de jazz: Rag
02:36
(Erwin Schulhoff) Patrick Ayrton
11.
Esquisses de jazz: Boston
02:43
(Erwin Schulhoff) Patrick Ayrton
12.
Esquisses de jazz: Tango
01:56
(Erwin Schulhoff) Patrick Ayrton
13.
Esquisses de jazz: Blues
01:53
(Erwin Schulhoff) Patrick Ayrton
14.
Esquisses de jazz: Charleston
01:45
(Erwin Schulhoff) Patrick Ayrton
15.
Esquisses de jazz: Black Bottom
02:00
(Erwin Schulhoff) Patrick Ayrton
16.
Marche Royale from l'Histoire du Soldat
02:58
(Igor Stravinsky) Thomas Gould, Patrick Ayrton
17.
7ème Improvisation
03:07
(Francis Poulenc) Patrick Ayrton
18.
Summer Ridge Drive
03:30
(Artie Shaw) Thomas Gould, Patrick Ayrton
19.
Sentimental Melody
01:57
(Aaron Copland) Patrick Ayrton
20.
Jazz Harpsichord Concerto: Allegro
06:42
(Joseph Horovitz) Patrick Ayrton, Les Inventions
21.
Jazz Harpsichord Concerto: Slow Blues
05:48
(Joseph Horovitz) Patrick Ayrton, Les Inventions
22.
Jazz Harpsichord Concerto: Vivace
04:13
(Joseph Horovitz) Thomas Gould, Patrick Ayrton, Les Inventions
show all tracks

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