Modern classical and avant garde concert music of the 20th and 21st centuries forms the primary focus of this blog. It is hoped that through the discussions a picture will emerge of modern music, its heritage, and what it means for us.
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Friday, August 25, 2017
Ernst Krenek, Complete Piano Concertos, Volume Two
Krenek was one of the master high modernists of last century, but perhaps more recognized as a cutting-edge force in the earlier days of his career. Blame that no doubt on the upheavals in Europe beginning in the thirties, leading to unspeakable degeneration and savagery in the years following. Three of the concerted works in the volume stem from 1950-51; the other is from 1940. All are finely wrought masterworks that combine a personal approach to serialism and non-serial elements, the latter of a characteristic and local thematic sort.
The "Piano Concerto No. 4, Op. 123" (1950), in first recording incredibly enough, has a remarkable balance between piano assertions and orchestral weight. The far reaches of modern harmonic possibilities prevail, yet the orchestrational and expressive structures bring forth a highly accessible discursive fluidity.
The "Concerto for Two Pianos, Op. 127" (1951) alternates a dramatically thickened density at times, thanks to the two-pronged solo possibilities, with quieter luminescences that evoke a sort of hushed twilight feel.This is another most welcome first recording.
As the listener segues to the "Double Concerto for Violin and Piano, Op. 124" (1950) she or he finds a different balance of expression made possible by the two emotional and aural dimensions available via the two solo instruments. An elaborate three-way dialog between violin, piano and orchestra acts as a brilliantly transparent window into a sonic landscape that moves continually between the three poles of musical discourse. This third and final first recording of the volume once again alerts us to how fully mid-century Krenek was in control of the expressive spectrum available in the concerted form.
The final, brief "Little Concerto for Piano and Organ, Op. 88" (1940) unveils yet another sonic brilliance, with piano and organ fleshing out a tandem singularity that expresses much in the most compact ways.
In sum this volume is a treasure of Krenek at a mid-century peak. The music is invariably excellent and moving. That so much of it is virtually unknown today is all the more reason to obtain this volume and listen deeply to it.
Posted by Grego Applegate Edwards at 6:36 AM
Labels: ernest krenek complete piano concertos volume two korzhev huebrier english symphony woods gapplegate classical-modern review, the high modernist piano concerto in mid-twentieth century
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