The Original Argument

‘Muti can suggest a sensibility driven to the edge of sanity by its nightmare,’ wrote Gramophone of this intense interpretation of Berlioz’s visionary Symphonie fantastique, judging it among the finest recordings of the work and praising the conductor’s mastery at ‘holding the thread of argument together firmly, while never minimizing the incidental excitement’.

This 1987 date teams the iconoclastic pianist with guitarist Bill Frisell, drummer Paul Motian, and British saxophonist John Surman. While it's easy to argue that, with Manfred Eicher's icy, crystalline production, this was a stock date for both the artists and the label, that argument would be flat wrong. Bley was looking for a new lyricism in his own playing and in his compositions. He was coming from a different place than the large harmonies offered by augmented and suspended chords and writing for piano trios. The other band members – two other extremely lyrical improvisers in Surman and Frisell.

In his time Pierné was hugely successful as composer, conductor and organist—a sort of latter-day Saint-Saëns, and indeed his music is very reminiscent of that composer. The earliest three works on this CD were all written between 1885 and 1890 and could easily be mistaken for the older composer, the piano concerto even follows the unusual layout of Saint-Saëns' 2nd piano concerto in having a scherzo but no slow movement. The Poëme symphonique of 1903 is harmonically more daring and reminiscent of Franck. This work is a true orchestral symphonic poem with the piano fully integrated into the musical argument, it is also perhaps the most impressive work on this disc and its obscurity is inexplicable.