August Piano

For many listeners, the keyboard works of Gabriel Fauré epitomize French music of the fin de siècle, typically because its languorous melodies and subtle harmonies are at times evocative of late Romantic parlor music. Yet Angela Hewitt defends Fauré's piano music from such a superficial judgment, demonstrating that it is much more substantial in content than the conventional piano pieces of the time, and that the difficulties one encounters in his music are akin to the complexities in Bach. Hewitt's polished performances of the Thème et variations, two Valses-caprices, three Nocturnes, and the Ballade are proof of her longtime commitment to this music, and her penetrating insights into Fauré's expressions and technical artistry reveal levels of inventiveness that are often missed in less competent performances. Of course, having played Fauré for most of her life, Hewitt has intimate knowledge of the music, and her sensitivity and control communicate precisely the effects she wishes, so the music never seems sloppily sentimental or vaguely sketched.

Although Liszt’s thirteen symphonic poems exist in two-piano transcriptions prepared by the composer himself, it was his Czech student August Stradal (1860–1930) who transcribed twelve of them for solo piano – versions which demand almost superhuman virtuosity. Stradal died before he could tackle the last of the symphonic poems, Von der Wiege bis zum Grabe; Risto-Matti Marin has made good that lacuna with his own virtuoso transcription, and adds six of Stradal’s transcriptions of Liszt songs for good measure.

Otis Spann - The Hard Way: The August 23, 1960 New York Studio Masters (2015) {2CD Set, Soul Jam Records 600852}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 696 Mb | MP3 @320 -> 318 Mb
Full Artwork @ 300 dpi (png) -> 54 Mb | 5% repair rar
© 1960, 2015 Chess / Soul Jam Records | 60085
Blues / Chicago Blues / Piano Blues / Acoustic Blues

The legendary Otis Spann gained renown as Muddy Waters’ pianist throughout the latter musician’s classic period of electric Chicago blues. Spann was also influential as a member of the Chess label’s house-band, which backed a roster of blues giants and big selling artists. However, Spann’s importance extended beyond his work as a sideman. He showed off his brilliance as a blues vocalist on a series of splendid recordings in a well-lived (though not extensive) solo career.

Although Liszt’s thirteen symphonic poems exist in two-piano transcriptions prepared by the composer himself, it was his Czech student August Stradal (1860–1930) who transcribed twelve of them for solo piano – versions which demand almost superhuman virtuosity. Stradal died before he could tackle the last of the symphonic poems, Von der Wiege bis zum Grabe; Risto-Matti Marin has made good that lacuna with his own virtuoso transcription, and adds six of Stradal’s transcriptions of Liszt songs for good measure.