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American pianist Jeffrey Biegel adds to his portfolio of recordings for the Steinway & Sons label (which launched with his acclaimed Bach on a Steinway album in 2010) with a collection of romantic works for piano by some of the greatest pianist-composers of the era, including Moszkowski, Paderewski and Rubinstein. The pieces come from an age before the serious recital came into vogue, when performers would delight audiences with light-hearted encores and showpieces, and where musical fireworks, supreme virtuosity and unashamed charm went hand in hand.

But these pieces are not simply saccharine titbits: the selection and programming of the works on the album is thoughtful and well-paced. Obviously virtuosic pieces are followed by works of more depth and sentiment, such as the Lyrica Nova by Samuel Bortkiewicz and Kamennly-Ostrov (Rocky Island) by Rubinstein, both of which are played with sensitivity and warmth by Biegel. The grandiose Schulz-Evier paraphrase of Strauss’s much-loved An der schonen, blauen Donau (The Beautiful Blue Danube) avoids cliché in Biegel’s hands with his delicate attention to its frills and furbelows, and tasteful rubato.

For me, the most enjoyable pieces were those where Biegel’s clarity of tone, silky touch, technical assuredness, and his obvious delight in these works really shine through: Moszkowski’s exuberant Étincelles, Henselt’s Si oiseau j’étais, and Scholzer’s Etudes, Op. 1: no 1. This is an enjoyable album of favourite encores: Biegel’s stylish playing and consistently polished finish remind us of why these pieces continue to enjoy such popularity in piano recitals.

A Grand Romance is available now on the Steinway & Sons label from Arkivmusic and other outlets, and digital download via iTunes

Jeffrey Biegel will feature in a forthcoming Meet the Artist interview

www.jeffreybiegel.com

More about the Steinway & Sons record label here

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***NEWS***

Greg Kallor will be performing at Subculture in New York’s NoHo on 26 September, with cellist Laura Metcalf, as part of the venue’s first annual ‘Piano Fest’ and to promote his new music video Broken Sentences, and premiere a new work ‘Undercurrent’. Further details here

 

Who or what inspired you to take up the piano, and make it your career? 

I’ve always felt a sort of inexorable pull toward music – almost as soon as I could walk I made my way to the piano in my parent’s home. A piece of string was thoughtfully tied around the length of the instrument to prevent the fallboard from crushing my fingers. My older brother studied with a piano teacher whom I begged for lessons every week for a year; she finally relented when I turned six – and I abandoned my assignments almost immediately. (Improvising was more fun than playing, say, “The Typewriter”.) I’ve become somewhat more disciplined. Supportive parents, wonderful teachers, encouraging friends and colleagues – a career in music just seemed… right.

Who or what were the most important influences on your playing/composing? 

When I was nine or ten I heard Brad Mehldau play in the jazz band at the high school I would attend a few years later; I was absolutely blown away. (I added jazz piano lessons to my music curriculum so I could play the way he did – but it doesn’t quite work that way, I quickly discovered.)

In college I began studying with Fred Hersch – who, in addition to being a master improviser, produces one of the most beautiful sounds from the piano I have ever heard. He encouraged me to explore the full range of the piano’s sonic possibilities, to pay attention to the sound.

After I moved to New York City, Fred introduced me to his piano teacher, Sophia Rosoff, and to composer Herschel Garfein. I’m so grateful to Sophia and Herschel for encouraging me to draw upon my background in jazz and improvisation in my classical playing and composing – working with them has helped me to embrace all of those elements, and my playing and writing has become much more personal as a result. I’m a musical mutt, I suppose.

What have been the greatest challenges of your career so far? 

It’s taken me a little while to reconcile all of my musical passions – playing and composing, classical music and jazz – into a professional trajectory that makes sense. Audiences and friends who’ve watched my development have been super-encouraging, and more and more presenters are getting excited by the mix of things that I do.

Which performances/compositions/recordings are you most proud of? 

I’m really proud of my recording of my piano suite, A Single Noon. It’s a tableau of life in New York City – moments of caffeinated bliss, embarrassing subway mishaps, etc. The interplay of freedom and structure is something I think about a lot, and I wanted to write a piece in which both composition and improvisation would be significant in shaping the musical narrative. (Note to pianists: A Single Noon can be performed with or without improvisation. The sections for improvisation are sort of like scenic detours on a highway; the musical narrative won’t be compromised if you stick to the paved road – you’ll just arrive a little sooner.)

Do you have a favourite concert venue to perform in? 

Wherever I’m playing next.

Favourite pieces to perform? Listen to? 

Ginastera’s Argentinian Dances are a blast to perform – brief, but potent miniatures. The second dance has that sort of sad/happy vibe. Seductive. And the last – “Dance of the Arrogant Cowboy” – feels like the musical id of a crazy dancing gaucho on amphetamines. (Probably not what Ginastera intended, but there you go.)

I love performing Rachmaninoff’s Preludes and Etudes-Tableaux, and his Corelli Variations. Gorgeous, and super-pianistic. Rachmaninoff was a master of both the short form and of the long, singing line.

Speaking of which, I love playing songs – particularly those delicious German Romantic lieder. Schumann. Schubert. Brahms. Wolf. It really doesn’t get much better than that.

And Elliott Smith songs. They’re like the Schumann of the (19)’90s.

I had a lot of fun playing Janacek’s Violin Sonata last fall – strange and wonderful piece. Still not entirely sure that I totally get it.

At the risk of sounding egocentric, I’m rather fond of performing my own music – I feel greater freedom to take chances with it than when I play other composers’ music that I love. Of course I try to play their music with the same freedom, but I always feel a little bit like a guest in a friend’s home – no matter how close we are, it’s still probably not a good idea for me to walk around naked just because it’s more comfortable. In my apartment, it’s come as you are. (Maybe I need some new friends.)

Favorite listening? This could take all year…..

Who are your favourite musicians? 

Martha Argerich. That woman must be from another planet.

Brad Mehldau has been an enormous influence since the first time I heard him play, and he continues to inspire me.

Yannick Nézet-Séguin – I’ve heard him conduct the Philadelphia Orchestra twice this season (Verdi Requiem, Stravinsky Rite of Spring). Phenomenal! And such a generous leader/conductor.

Dawn Upshaw. I wrote my Dickinson and Yeats songs with her voice and artistry in mind.

I heard Anthony McGill perform the Copland concerto last year – big fan. Gorgeous tone, soulful playing.

Thomas Quasthoff and Justus Zeyen – left every one of their recitals without tears in my eyes.

Gil Shaham – incredibly beautiful player. Never an impersonal note.

James Levine conducting the MET orchestra = perfection.

Radiohead – one of the most energetic and exciting group of performers I’ve seen/heard.

Alisa Weilerstein, Chris Potter, Byron Janis, Maxim Vengerov, Larry Grenadier… so many. I’m very lucky to live in New York where I get to hear all of these extraordinary musicians.

What is your most memorable concert experience? 

My first Weill Hall solo concert in 2007 was incredibly special. Entering the stage door at Carnegie Hall was surreal (Rachmaninoff walked in this way!), and I giddily assumed that my concert was as momentous for the security guard and the stage manager as it was for me. (They graciously indulged my newbie delusion.) I premiered my Dickinson and Yeats songs with mezzo-soprano Adriana Zabala, and played solo pieces by Ginastera, Scriabin, Bach, and Rachmaninoff. Kind of a big night.

What do you consider to be the most important ideas and concepts to impart to aspiring musicians? 

Beware of people offering unsolicited advice!

Here’s something that’s not too offensive: take care of your body. Hike, stretch, run, play basketball, swim, lift weights, whatever brings you joy – but be active. It’s good for the long-term health of people with sedentary vocations (um, hello musicians), and it really helps me out of my head. (Not a whole lot of thought going on when veins are popping out of your neck as you struggle to finish that last pull-up.) I used to LOVE rock climbing, but I gave that up when I realized that a cavalier attitude towards injury probably wasn’t recommended for a pianist.

What are you working on at the moment? 

Playing: I’m digging into some of Wolf’s Italienisches Liederbuch – absolute gems. I’m performing them with mezzo-soprano Adriana Zabala at the end of the month, along with my settings of Dickinson and Yeats poems. Also, Faure’s insanely beautiful D-flat Nocturne is on my stand, calling to me…

Composing: I just finished my piano concerto! Super excited about that – and about some new chamber music sketches I’m working on for cello and piano, and piano trio. I’m almost ready to play through some of them with friends and see what works and what needs to be burned.

Where would you like to be in 10 years’ time? 

Doing exactly what I’m doing right now – except more of it. And, hopefully, better.

What is your idea of perfect happiness? 

A beautifully-pulled espresso.

Gregg Kallor’s new album A Single Noon is available now, a musical tableau of life in New York City, told through a combination of composed music and improvisation in nine movements that coalesce into a more complete story like an album of postcards, or memories. Each movement develops an aspect of the Single Noon theme, and improvisation is incorporated throughout the suite as a commentary on and development of the themes in the music.

My review of A Single Noon

Gregg Kallor’s biography

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Who or what inspired you to take up the piano and make it your career?

My mother taught me to read prior to kindergarten. The nuns at St. Athanasius considered this a problem, as i would be bored and get into trouble. they offered piano or French lessons at $15 a week as an ultimatum. I remember my first piano lesson, and reading music made immediate sense; a connection was made and i never looked back.

Who or what are the most important influences on your playing?

I most admire some of the greats from the past: Rachmaninoff, Schnabel, Gould. i am also inspired by string instruments in their capacity for true expression. with that in mind, i presently gain most inspiration from the kids who play on From the Top, and my colleague, Matt Haimovitz.

What have been the greatest challenges of your career so far?

Dealing with adverse reactions to my crossing genre lines in my choice of repertoire, mostly from Neanderthals of the Classical music industry.

What are the particular challenges/excitements of working with an orchestra/ensemble?

Knowing when to lead and when to follow, reacting and interacting in the moment.

Which recordings are you most proud of?

My upcoming Liszt recording of the Berlioz Symphonie Fantastique and other Liszt arrangements; my Stravinsky record; both of my Radiohead CDs.

Do you have a favourite concert venue?

Hard to choose, but Mechanics Hall in Worcester is a great recording venue, ditto the Academy of Arts and Sciences in Upper Manhattan; Meyerson Hall in Dallas.

Who are your favourite musicians?

Nicolaus Harnoncourt, Jordi Savall, Sir James Galway, Bernard Herrmann, Danny Elfman, Bill Evans, Miles Davis, John McLaughlin, Matt Haimovitz

What is your most memorable concert experience?

Listening: my teacher, Russell Sherman in numerous recitals
Performing: collaborating with Matt, Sir James

What is your favourite music to play? To listen to?

Rachmaninoff and Ravel are two favourites to perform, also Shostakovich.
I listen to The Bad Plus, Bill Evans, Elliott Smith

What do you consider to be the most important ideas and concepts to impart to aspiring musicians/students?

That one’s own creation of the present moment in music is most important, not submitting to some foregone conclusion as to what’s appropriate.

What are you working on at the moment?

Goldberg Variations, Rachmaninoff Concerto #1

Where would you like to be in 10 years’ time?

Costa Rica

What is your idea of perfect happiness?

Spending all day with my cats

What is your most treasured possession?

Elliott, my Tonkinese cat

What do you enjoy doing most?

Reading

Christopher O’Riley appears with Lara Downes in The Artist Sessions on 29th May, at the historic Yoshi’s SF, with a performance of his new Oxingale Records BluRay/CD O’Riley’s Liszt.

Christopher O’Riley is an American classical pianist and public radio show host. He is the host of the weekly National Public Radio program From the Top. O’Riley is also known for his piano arrangements of songs by alternative artists, including alternative rock band Radiohead.

Christopher O’Riley studied with Russell Sherman at the New England Conservatory of Music. Christopher O’Riley splits his time between Los Angeles and rural Ohio. His radio and tv show can be found on-line at www.fromthetop.org. His personal website (including a full biography) is at www.christopheroriley.com.

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Who or what inspired you to take up the piano and make it your career?

My mother brought home from the public library a recording by Vladimir Horowitz. Already, I was studying music and learning to play the piano; but it was those sounds that ignited my musical interest.

Who or what were the most important influences on your playing?

Early on, it was recordings of Horowitz (I only wanted to play pieces he played, for example), and earlier pianists, Hofmann, Petri. Later, I went another direction. My teacher at Juilliard was Jacob Lateiner, an extraordinary virtuoso with nearly Talmudic insights! He offered intensely detailed scrutiny of music and high ideals. He was the most important example to me, and he was my friend. At the same time, my awareness of John Cage’s music and my work with it were important. That makes for some combination of compulsive preparation and considerable letting-go in performance.

What have been the greatest challenges of your career so far?

The greatest challenges are simple things, I believe. For virtuosos — or any kind of experts — it’s difficult to resist showing how much you can do, or know, or feel.

Which performances or recordings are you most proud of?

I’m pleased with a new recording of piano music by Meredith Monk that I made with Ursula Oppens. Along with solo pieces, there are 4 new transcriptions of Meredith’s music that I made from pieces that were first written for voices or other instruments.

Do you have a favourite concert venue to perform in?

Many. I play rather frequently in New York at Le Poisson Rouge (LPR). It’s a nightclub where very different kinds of music mingle or collide. One night, I played Messiaen’s Quartet for the End of Time right before a set by the French star Sylvain Chauveau.

Favourite pieces to perform?

I like performing chamber music. The necessary spontaneity and moment-by-moment awareness when playing with other people make the real pleasure of performing most clear.

What is your most memorable concert experience?

Probably that would be the first time I played in Los Angeles, with the L.A. Philharmonic at the Hollywood Bowl – but the day before the performance there was an earthquake!

What do you consider to be the most important ideas and concepts to impart to aspiring musicians?

Close listening and curiosity – that’s paying attention!

What are you working on at the moment?

There’s a new piano concerto written for me by William Duckworth. I’m doing a re-editing project based on recordings by Glenn Gould.

What is your present state of mind?

Anxious anticipation. In London at Kings Place on May 19th, I’m offering an improvisation with a backing track I prepared. (As well as composed pieces by Glass, Nico Muhly, and Alvin Curran.) Last season, at the urging of Ran Blake, I did an improv in a public concert. Now I’m hooked.

brucebrubaker.com

artsjounal.com/pianomorphosis

Bruce Brubaker appears at London’s King’s Place on Sunday 19th May in a concert entitled Plugged and Unplugged: Post-Minimalist Piano Music. Further information and tickets here

Bruce Brubaker is an American artist, musician, concert pianist, and writer born in Iowa. Brubaker trained at the Juilliard School, where he received the school’s highest award, the Edward Steuermann Prize, upon graduation. At Juilliard, where he taught from 1995 to 2004, he has appeared in public conversations with Philip Glass, Milton Babbitt, and Meredith Monk.

Full biography here