Album insights
This recording contains no jazz whatsoever, at least not in the traditional sense, as jazz and classical music are inherently different due to jazz's nature of improvisation. The works on this CD are mostly fully notated, with only a slight element of improvisation present. Therefore, it lacks the unrestrained freedom typically associated with jazz performance.
Why then refer to this as a jazz album? It's a gesture of respect to four 20th-century composers who successfully integrated elements of jazz into concert music, each in their unique way, acknowledging the vital need for concert audiences to experience something different. Viewing the world of jazz as equally vital, fascinating, and essential as classical music, these composers approached the fusion of genres differently, leading to a unique musical blend showcased in this CD. The hope is that the pieces, united on this CD, may mutually inspire each other, creating a positive listening experience worth exploring in its entirety.
Very few pianists have balanced two vastly different musical careers as successfully as Friedrich Gulda did. Initially acclaimed for interpreting the core repertoire, from Bach to Debussy, he was captured by the jazz virus in 1950. From then on, he immersed himself in producing an extensive body of work in this idiom, collaborating with renowned figures like Joe Zawinul and Chick Corea.
The collection of ten Piano Play Piano pieces are noted as "practice pieces." Originally composed for educational purposes, Gulda intended them as a step towards freeing classical musicians from stylistic constraints, offering a platform to learn swing and discern between jazz and classical modulations. While considered exercises, these pieces provide a refreshing challenge and deserve broader recognition.
Prelude and Fugue, as performed and recorded by Keith Emerson of Emerson, Lake and Palmer, showcase intricate arpeggio figures leading into a syncopated fugue theme, requiring the pianist to navigate complex polyphony. The composition, halted just before the coda, prompts the pianist to improvise, a likely reason why this dynamic and captivating work remains somewhat obscure.
The rising prominence of Russian composer and pianist Nikolai Kapustin's works in recent years reflects the fusion of genuine jazz writing with classical forms. Kapustin's pieces bear traditional titles but blend jazz idioms seamlessly, providing classical musicians access to jazz elements through compositions devoid of improvisational elements, a characteristic that sets his work apart and makes it highly appealing.
Alexis Weissenberg, though primarily celebrated as one of the greatest pianists of the 20th century, has a lesser-known repertoire of compositions and arrangements rich in harmonic complexity and individuality. While his tonal harmonic language is accessible, the dense piano textures and dissonances make his works challenging yet rewarding endeavors for pianists to explore and embrace.
The composition "Jazz-mood Sonata" by Ludwig Madlener is an innovative blend of tango, Charleston, blues, and samba, representing four distinct locations and periods within a jazz-infused classical structure. Through evocative rhythms and melodic themes, the piece encapsulates the spirit and essence of each dance form while harmoniously merging them under a jazz-inspired framework.
Marc-André Hamelin © 2008