Kirill Gerstein, Thomas Adès and Tanglewood Music Center Orchestra - Thomas Adès: In Seven Days (2020) [Hi-Res]
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BAND/ARTIST: Kirill Gerstein, Thomas Adès, Tanglewood Music Center Orchestra
- Title: Thomas Adès: In Seven Days
- Year Of Release: 2020
- Label: Myrios Classics
- Genre: Classical Piano
- Quality: flac lossless (tracks) / flac 24bits - 96.0kHz +Booklet
- Total Time: 00:58:52
- Total Size: 241 mb / 1.04 gb
- WebSite: Album Preview
Tracklist
01. Concert Paraphrase on "Powder Her Face" (Arr. for 2 Pianos): I. —
02. Concert Paraphrase on "Powder Her Face" (Arr. for 2 Pianos): II. —
03. Concert Paraphrase on "Powder Her Face" (Arr. for 2 Pianos): III. —
04. Concert Paraphrase on "Powder Her Face" (Arr. for 2 Pianos): IV. —
05. Berceuse from "The Exterminating Angel"
06. Mazurkas: No. 1, Moderato, molto rubato
07. Mazurkas: No. 2, Prestissimo molto espressivo
08. Mazurkas: No. 3, Grave, espressivo
09. In Seven Days: I. Chaos-Light-Darkness (Live)
10. In Seven Days: II. Separation of the Waters into Sea and Sky-Reflection Dance (Live)
11. In Seven Days: III. Land-Grass-Trees (Live)
12. In Seven Days: IV. Stars-Sun-Moon (Live)
13. In Seven Days: V. Creatures of the Sea and Sky (Live)
14. In Seven Days: VI. Creatures of the Land (Live)
15. In Seven Days: VII. Contemplation (Live)
One might offer various explanations for why the music of Thomas Adès became so consistently popular in the late 2010s, but one is certainly that he found a really sympathetic interpreter in pianist Kirill Gerstein. Accordingly, this group of new Adès pieces (the Concert Paraphrase on Powder Her Face is a world premiere) featuring Gerstein would be a good place to start with the composer. Gerstein gets the peculiar combination of modern unease in Adès' music with the characteristic forms of the 19th century: here berceuse, mazurka, and the most antiquated of all, the concert paraphrase. These are without exception fine examples of Adès' rhythmic tension, and the set of three mazurkas, fully observant of that dance's rhythm but fully of the present day, make up an excellent slice of the composer's aesthetic. In Seven Days -- it is the seven days of Creation that are referred to and quite evocatively depicted -- the piano provides washes of color. The work is not a piano concerto, but an orchestral work with a piano part, and Gerstein scales back his intensity accordingly. Adès himself is the conductor in this lovely live performance from the Tanglewood Festival in Massachusetts. A thoroughly absorbing release for anyone from total newcomers to Adès to those who have followed him from the start.
01. Concert Paraphrase on "Powder Her Face" (Arr. for 2 Pianos): I. —
02. Concert Paraphrase on "Powder Her Face" (Arr. for 2 Pianos): II. —
03. Concert Paraphrase on "Powder Her Face" (Arr. for 2 Pianos): III. —
04. Concert Paraphrase on "Powder Her Face" (Arr. for 2 Pianos): IV. —
05. Berceuse from "The Exterminating Angel"
06. Mazurkas: No. 1, Moderato, molto rubato
07. Mazurkas: No. 2, Prestissimo molto espressivo
08. Mazurkas: No. 3, Grave, espressivo
09. In Seven Days: I. Chaos-Light-Darkness (Live)
10. In Seven Days: II. Separation of the Waters into Sea and Sky-Reflection Dance (Live)
11. In Seven Days: III. Land-Grass-Trees (Live)
12. In Seven Days: IV. Stars-Sun-Moon (Live)
13. In Seven Days: V. Creatures of the Sea and Sky (Live)
14. In Seven Days: VI. Creatures of the Land (Live)
15. In Seven Days: VII. Contemplation (Live)
One might offer various explanations for why the music of Thomas Adès became so consistently popular in the late 2010s, but one is certainly that he found a really sympathetic interpreter in pianist Kirill Gerstein. Accordingly, this group of new Adès pieces (the Concert Paraphrase on Powder Her Face is a world premiere) featuring Gerstein would be a good place to start with the composer. Gerstein gets the peculiar combination of modern unease in Adès' music with the characteristic forms of the 19th century: here berceuse, mazurka, and the most antiquated of all, the concert paraphrase. These are without exception fine examples of Adès' rhythmic tension, and the set of three mazurkas, fully observant of that dance's rhythm but fully of the present day, make up an excellent slice of the composer's aesthetic. In Seven Days -- it is the seven days of Creation that are referred to and quite evocatively depicted -- the piano provides washes of color. The work is not a piano concerto, but an orchestral work with a piano part, and Gerstein scales back his intensity accordingly. Adès himself is the conductor in this lovely live performance from the Tanglewood Festival in Massachusetts. A thoroughly absorbing release for anyone from total newcomers to Adès to those who have followed him from the start.
Classical | FLAC / APE | HD & Vinyl
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