| |
|
| Roger Sessions and Ralph Shapey |
| Sessions: |
Piano Sonata No. 1 |
 |
| |
Piano Sonata No. 3 |
| Shapey: |
Mutations |
|   |
Mutations II |
|   |
12 Variations |
|
Bridge #9243
www.BridgeRecords.com
|
| "The
juxtaposition of piano music by two such different composers as Sessions and Shapey is
interesting. It works well on this useful CD thanks to the dynamism and perception of
pianist David Holzman. It's to be welcomed for another reason: it helps to redress the
balance after a period of neglect following their deaths in 1985 and 2002 respectively. It
could be argued that the reputation of each was poorly established even before then and
has been further obscured (by neglect) ever since.
Sessions music is nowhere near so 'difficult' as such a reputation would suggest. His
first Sonata, for example, is lyrical, bouncy almost, sunny and immediate. Holzman plays
its single movement - it lasts almost a quarter of an hour - with measured attack, never
lingering nor yet rushing. He persuades us that there is much to be squeezed from its at
times busy sounding full and rich passages. Holzman invites us to glance back to Ives …
and even to Brahms! … through the eyes, perhaps, of Carter.
Like Messiaen's, the voice of the third sonata (from 35 years later and fully serial)
is rich, packed and dense. Yet Holzman draws out Sessions' assuredness. The composer was
not one to muse aloud or foist his experiments on us as he went along. This music is as
carefully pre-considered as anything by Webern or Bartók. Its compelling beauty is spare
in the first movement; yet we are teased, almost, by the changes in pace and texture. As
it goes on the sonata becomes wilder and more expansive. Yet it never loses a classical
beauty of melodic line for all the furious counterpoint and 12-tone attack. Holzman stays
in perfect control without a hint of woodenness. He is an ideal pianist for this
repertoire: he has not only an amazing technique (and at least 20 fingers); but his
sensitivity to the inner structure of the music is sure and revealing without being overly
'pianistic' as such.
Ralph Shapey came from a different world, in some ways. Proletarian to Sessions gentry,
he was most at home in the Abstract Expressionism of the New York scene. Shapey studied
with Stefan Wolpe but was as close to Feldman (and even Cage) in his interest in
fragmentation, pulsing extracts of sound surrounded by silence as a valid way to move a
work forward. Holzman is - again - completely in accord with this idiom.
Mutations, Mutations II and 21 Variations have in common an
interest in tension and withheld resolution. There is even more of Webern in the condensed
nature of pieces like Mutations [tr.5]. It dictates its own terms of reference and
rules. In that sense it needs to be played almost as an introverted and highly refined and
concentrated interlude. And so Holzman plays it - yet somehow as an inevitable complement
- to the rest of one's day - whose purpose and context can neither be ignored nor
forgotten. Life oozes out of it.
Similarly Mutations II is even sterner. It's hard to tell - even after repeated
listenings - whether Shapey has any peace in mind. Or whether - perhaps like Shostakovich
- he really does despair and simply wants to portray incoherence without limit. Not that
the music lacks direction. Again, that's a strength of Holzman's. It moves towards and
away from centres of gravity tonally. Yet Mutations II does seem to be coming apart in all
other respects.
Nowhere is Holzman's identification with the way Shapey was thinking when he conceived
these pieces clearer, nor is Holzman's expert grasp of the music more stunningly visible,
than towards the end of Mutations [tr.6] - and, for that matter, throughout the whirlwind
Mutations II [tr.7]; those four hands again! Amazing.
21 Variations is much more figurative, chromatic, somewhat less abstract - at least in
conception. The clusters, chords and clamour are as prominent as ever. Yet they are less
the vehicles for the variations' development; more the result. Once again, Holzman is
completely in tune with such an underlying purpose; he pulls out every nuance and subtlety
without losing sight of Shapey's intention. In other words this is a performance where
flourish, virtuosity (however tempting and even inevitable it could have been) is rejected
for insight, patience and authority. Authority of a curious, not a demonstrative, kind.
Both Sessions and Shapey had few misgivings about distilling their reactions towards
their century (and its art, its music) into abstract and almost romantically nostalgic
styles. That, perhaps, is what they have most in common. Not that Holzman is out to build
his performances entirely - or even chiefly - on commonalities. But what each composer's
approach says about the other's is always illuminating from the hands of someone who is so
at home in, and positive about, both. This makes this a special CD with few others
exposing Shapey's music in particular to the same extent. It will not disappoint.
The presentation of this CD with an informative essay by Holzman and a reference to
his lecture on
Shapey is good; it's businesslike and a little severe - but a great background to two
composers who surely deserve reassessment. Outstanding playing like Holzman's here is more
than a giant leap towards that. His total understanding of the music, its context and its
strengths commend it to us not for its perceived difficulty or lamentable obscurity, but
its beauty and power."
|
|
—Mark Sealey
|
|
reprinted with permission from
|
|
MusicWeb International
|
| "Though
this is the last thing I have to say about this release, it should have
been the first. Pianist David Holzman (who also wrote the astonishing notes in
the booklet) is an extraordinarily accomplished performer. That he knows these
works intimately goes without saying. His feeling for this music is evident.
He manages not to approach it mechanically or in a cold, academic manner. He
is the one responsible for making this music so immediate and clear (I would
say he gives this music soul). I recommend this for those of you following
advanced serial (and non-serial) techniques in 20th Century piano. It left me
breathless."
|
|
—American Record Guide
|
| "David
Holzman surely stands among the greatest living exponents of 20th-century
American music. The 58 year old New York pianist's last CD (Music of Wolpe,
BRIDGE 9116) was Grammy nominated, won the 2003 Indie Award for 'Best Classical
CD of the Year', and won a Deems Taylor award. This new disc continues along
that same intensely virtuosic path, with heroic readings of seminal works of
Roger Sessions (1896- 1985) and Ralph Shapey (1921-2002). These performances
simply must be heard to be believed! What distinguishes Holzman's superb
pianism from so many others is his uncommonly deep musical vision which lends
poetry and unity to even the most complex and sprawling structures. Here are
pianism and musicianship of the very highest order." |
|
—Bridge Records
|
"Let
it be said that Sessions (or Shapey) simply couldn't have a better
advocate and interpreter than David Holzman. This disc is one that
elicits the 'Wow' response. The pianist has unerringly steely
technique, but he has an intellect that allows him to grasp confidently the
conception and structural line of this music. He clarifies everything. There
are passages where the dense contrapuntal textures are so well differentiated,
one might assume this was four-hand music (as an example, the fiery,
overflowing explosion of Mutations II has to be heard to be believed. If there
is any drawback, it is that one will not get the most tender or liquid touch
from Holzman (though this does not mean the man can't produce a pianissimo).
The playing is, as I said, 'steely'. But it's a small price to pay for the
passion, control and rigor that I think admirably matches the spirit of both
composers' music. On top of it, the pianist writes suitably challenging,
intellectually chewy notes. And Bridge's sonics are bracingly big and clear.
While a little out of left field, this could be a Want List item for me come
year's end."
|
|
—
Robert Carl, Fanfare Magazine |
|
| Stefan
Wolpe: Compositions for Piano (1920-1952) |
| Sonata
(1925)* |
|
| Gesang
(1920) |
|
| Tango
(1927) |
for liner notes, see
ESSAYS |
| The
Good Spirit of a Right Cause (1941)* |
 |
| Battle
Piece (1943-47) |
| Waltz
for Merle (1952)* |
| Zemach
Suite (1939) |
|
GRAMMY Award
Nominee--Best Classical Solo Performance
Indie Award - Best Classical Album
ASCAP - Deems Taylor Award- Best Liner Notes |
Bridge #9118
www.BridgeRecords.com
|
| "
For those who dare to venture into the rarefied world of Stefan
Wolpe, they could hardly do better than with this exceptional Bridge
release.
" |
|
—
(Uncle) Dave Lewis, Allmusic |
|
| Wolpe: |
Battle Piece*; Displaced
Spaces* |
|
| Pleskow: |
Epitaph and Caprice* |
| Greenbaum: |
Mischsprache for Piano and
Tape* |
|
CRI SD
538
|
| "The same intrepid label has just
given us another Great Day by issuing David Holzman's searing
account of another legend, Wolpe's Battle Piece. Elliott
Carter called Battle Piece 'amazing.' It's at least that and so is
Holzman's mighty performance. This is an experience you owe
yourself. You'll never forget it." |
|
—Richard Taruskin, Opus
Magazine
|
| "Mr.
Holzman's recital on Composers' Recordings is one of the great piano
discs of the decade..." |
|
—Peter G. Davis, New
York Magazine
|
|
| Wolpe: |
Music for a Dancer*
Lied Anrede Hymnus Strophe* |
 |
| Pleskow: |
Sonata #1* |
| Maxwell Davies: |
Farewell to
Stromness;
Yesnaby Ground; Sonata (excerpts) |
|
Centaur
Records CRC 2102
www.centaurrecords.com |
| "New
York Pianist David Holzman has put together an impressive and
coherent program of important modern piano music not available anywhere
else. He is an eloquent advocate for these three
composers, not only as a pianist but in his literate and helpful
liner notes... throughout the disc, Holzman provides vivid
characterization and contrapuntal clarity.: |
|
—Scott
Wheeler, Fanfare
|
|
| Martino: |
Fantasy*;
Impromptu for Roger*;
12 Preludes* (excerpts); Fantasies and Impromptus |
|
Albany
Troy 169
|
| Martino: |
Pianississimo |
Albany
Troy 168
|
| "Holzman
is an amazing pianist to listen to, engaging a technique of blazing
accuracy in the service of beautifully expressive playing. The
scores are filled with poetic descriptions of the musical intent
behind the exacting notation and Holzman manages to give equal
weight to the exactitude and to the poetry ...every detail is
employed in the service of communicating meaning on the part of both
the composer and the performer. One special joy is the wonderfully
expressive variety of uses out to the grace note decorations. Both
compact discs include six pages of helpful booklet notes. Holzman's
are particularly lucid." |
|
—Louis
Goldstein, American Music
|
| ",,,anyone
listening to Mr. Holzman's performance of Mr. Martino's compositions
on these Albany CDs will surely admire his sterling qualities of
touch, timing and tone." |
|
—Richard
Taruskin, The New York Times
|
| "The
performances are wonderful throughout." |
|
—Robert
Carl, Fanfare
|
|
| Explorations |
| Boros: |
Mnem* |
 |
| Cornicello: |
Sonata* |
| Yttrehus: |
Explorations* |
| Pleskow: |
Sonata #2* (excerpts) |
| Greenbaum: |
Amulet* |
|
Centaur
Records, CRC 2291
www.centaurrecords.com |
| "[The
music] certainly makes punishing demands on the player, and David
Holzman acquits himself with brilliance, He simply burns the
keyboard up, producing vivid, often thunderous sonorities vividly
captured by Centaur's realistic sound. These fierce, demanding works
are well worth hearing, especially with such a splendid performance
and recording." |
|
—Daniel Sullivan,
American Record Guide |
|
| Visions |
| Bloch: |
Visions and
Prophecies; Ex Voto* |
 |
| Ben-Haim: |
Five Pieces
for Piano |
| Avni: |
Epitaph* |
| Schoenberg: |
Drei
Klavierstucke (excerpts) |
| Wolpe: |
from the
Palestinian Notebook* (excerpts) |
|
Albany
Troy 283
|
| "This
fascinating recording presents piano music by Jewish composers of
three generations. In his brilliant performances, David Holzman
illuminates the many-sidedness and distinctiveness of the styles
heard here. The high artistic level of the material reaches from
Wolpe's Jewish folk miniatures which, in their aphoristic brevity
serve a much higher purpose than that of mere encores, to the
epochal abstraction of Schoenberg's op.11. I have rarely heard these
works so clearly illuminated and differentiated as here." |
|
—Knute
Franke, Fonoforum, Germany |
|
|
*premiere
recording
|
|
| Wolpe: |
Dance
in Form of a Chaconne (from Zemach Suite - 1939) (excerpts) |
| Wolpe: |
Stehendemusik
(from Sonata - 1925) (excerpts) |