Jorge Liderman's stunningly beautiful setting of "The Song of Songs" is a dramatic cantata that treats the joyous Old Testament tale of the sexual awakening of a young woman and her lover with music of great physicality and almost primitive rhythmic energy. Scored for vocal soloists, female chorus and chamber orchestra, Liderman divides the instrumental ensemble into three groups: a pulsing and percussive pair of marimbas and pair of pianos, a lush group of pairs of clarinets, violas and French horns, and a more mixed ensemble of flute, oboe, trumpet, violin and contrabass. These layered ensembles give the work a sense of being simultaneously transparent and complex. As the Shulamite, soprano Elissa Johnston gives an impassioned reading, and conductor David Milnes leads a performance that is both detailed and radiant.
Born in Buenos Aires in 1957, Jorge Liderman began his musical studies in Jerusalem, under Mark Kopitman, later studying with Ralph Shapey and Shulamit Ran. He then went on to join the composition faculty at the University of California, Berkeley, where he still teaches. Liderman has been commissioned and performed by the London Sinfonietta, the American Composers Orchestra, the Los Angeles Philharmonic, Radio France, the Netherlands Wind Ensemble and numerous other organizations and soloists. His first CD on Bridge, "Waking Dances", includes works for guitar and ensemble, featuring guitarist David Tanenbaum (BRIDGE 9150).
Beethoven: Sonatas for Violin and Piano
Henryk Szeryng, violin; Gary Graffman, piano
Op. 12, No. 1; Op. 12, No. 3; Op. 47 "Kreutzer"
Great Performances from the Library of Congress, Vol. 20
BRIDGE 9165 ADD
This CD brings to the catalog, for the first time, superb performances by two leading twentieth century artists. Henryk Szeryng was the most cosmopolitan violinist of his generation. Born in 1918 near Warsaw, he knew Paderewski and Huberman as friends of his parents. By the time Szeryng was 15 years old he was touring, though he continued to study with, among others, Jacques Thibaud. Settling in Mexico after WW2, Szeryng began to tour with Artur Rubinstein. In 1956 Szeryng became official cultural ambassador for the Mexican government, while simultaneously pursuing a career in which he came to be regarded as one of the greatest violinists of his era. Gary Graffman was born in 1928. Graduating from Curtis in 1946, he won the Rachmaninoff Prize, making his debut the following year with Eugene Ormandy and the Philadelphia Orchestra. In 1949 Graffman won the Leventritt Award, after which he toured throughout the world until a right hand injury in 1979 slowed a major career. These excellent performances from 1970 and 1971 were captured in very good sound at the Library of Congress, and are the first of two Szeryng/Graffman discs that Bridge will be releasing. At the time of these concerts, critic Irving Lowens in the Washington Evening Star raved about these performances, comparing them favorably to the legendary concerts given in the same hall by the Busch/Serkin duo. Notes by Tully Potter and a series of rare photographs complete this historic release.
Ludwig van Beethoven: Sonata for Piano in f minor, Op. 57, "Appassionata"; Lambert Orkis, piano and fortepianos; Three performances of the "Appassionata" on different instruments: 1) Fortepiano by Thomas and Barbara Wolf, after a Nannette Streicher (ca. 1814-1820); 2) Bösendorfer Imperial Concert Grand; 3) Fortepiano by R.J. Regier, after Viennese instruments ca. 1830.
BRIDGE 9169 DDD 76:25
This CD presents Beethoven's immortal "Appassionata" sonata in three separate performances on different instruments, all played by virtuoso keyboardist, Lambert Orkis. Beethoven himself regarded the f minor sonata to be his finest sonata at the time that he wrote it (1805), and Carl Czerny, a student of Beethoven's points out that whatever considerable powers a pianist needed for Beethoven's sonatas prior to this composition, this work required the doubling of those abilities. When Beethoven composed the "Appassionata", a consensus regarding how a piano should sound had not been achieved. Indeed, the instrument was in the throes of a rapid evolutionary development. The three instruments used in this recording are based upon Viennese piano building designs and represent three snapshots in time of Viennese piano evolution, Fortepiano by Thomas and Barbara Wolf, after a Nannette Streicher (ca. 1814-1820), Bösendorfer Imperial Concert Grand, Fortepiano by R.J. Regier, after Viennese instruments ca. 1830.
Lambert Orkis has received international recognition as chamber musician, interpreter of contemporary music, and performer on period instruments. He has appeared world-wide in recital with violinist Anne-Sophie Mutter since 1988 and with cellist Mstislav Rostropovich since 1983. A multi-Grammy Award nominee, his large discography comprises works of the Classical, Romantic and Modern eras. Mr. Orkis can be heard on the following Bridge CDs: George Crumb: A Little Suite for Christmas; Richard Wernick: Sonata "Reflections of a Dark Light" (BRIDGE 9003); Richard Wernick: Piano Concerto (BRIDGE 9082); Richard Wernick: Piano Sonata No. 2; James Primosch: Sonata-Fantasia (BRIDGE 9131).
Romances: Music of Robert and Clara Schumann for Horn and Piano
William Purvis, horn; Mihae Lee, piano
Robert Schumann: Fantasiestücke, Op. 73; Fünf Stücke im Volkston, Op. 102; Adagio and Allegro, Op. 70; Drei Romanzen, Op. 94; Clara Schumann: Drei Romanzen, Op. 22
BRIDGE 9164 DDD 61:54
This remarkable disc sets a new standard for virtuoso horn playing. William Purvis's transcriptions of Robert and Clara Schumann's works prove to be both astonishing instrumental achievements as well as musically insightful readings of these minor masterpieces. Robert Schumann's writing for the horn always sounds completely natural, from the horn calls of the "Rhenish" Symphony to the virtuosic flexibility of his "Adagio and Allegro", heard here in a superb reading. With this in mind, as well as Schumann's forward-looking view of horn technique, Purvis has fearlessly taken on the challenge of playing this repertoire with very few adjustments to the original texts.
William Purvis pursues a multifaceted career both in the U.S. and abroad as French horn soloist, chamber musician, conductor and educator. A faculty member of the Juilliard School, Yale University, and SUNY Stony Brook, Purvis is much admired for his passionate advocacy of new music. In recent years he has performed premieres of concerti by Lieberson, Ligeti, and Northcott, as well as new chamber works by Ruders, Lansky, Carter, Stucky and Reynolds. Later this year his recording of Peter Lieberson's "Horn Concerto" will be released on Bridge Records. Mr. Purvis's recording of the Brahms and Ligeti "Horn Trios" can be heard on BRIDGE 9012.
Mihae Lee, wife of Mr. Purvis, has appeared as soloist with Das Symphonie Berlin, the Warsaw Philharmonic, and in concert halls throughout the USA, Europe and Asia. Born in Korea, Ms. Lee made her professional debut at the age of fourteen with the Korean National Orchestra after becoming the youngest grand prizewinner at the National Competition held by the President of Korea. Ms. Lee can be heard on recordings on the Etcetera, Northeastern and BCMS labels.
Dialogues with Double Bass; Jeremy McCoy, double bass and friends;
Rossini: Duetto, with Steven Doane, violoncello; John Pattitucci: The Root, with John Patitucci, double bass; Telemann: Sonata No. 2, with Whitney Crockett, bassoon; Bottesini: Gran Duetto, No. 3, with John Pattitucci, double bass; Martin Dalby: MacPherson's Rant, with Laura Gilbert, piccolo, flute, alto flute; Glière: Cradle Song, with Ira Weller, viola; Elgar: Duetto: with Demian Austin, trombone; John Pattitucci: Grateful, with John Pattitucci, six string electric bass; Françaix: Duo Baroque, with June Han, harp
BRIDGE 9163 DDD 73:17
Jeremy McCoy's new album, "Dialogues with Double Bass" presents a wide-ranging look at the double bass repertoire. The album highlights two particular themes. The primary notion is highlighting the bass as an equal voice in instrumental duos that are diverse and interesting conversations. A second theme is found in the vocal quality of much of the music. Like Bottesini, one of history's most famous bass players, who earned his living playing in an opera orchestra, Jeremy McCoy is a seasoned member of New York City's Metropolitan Opera Orchestra (the orchestra's assistant principal bassist). The influence of great singing can be heard in McCoy's playing, in the way he shapes a phrase and in the varied tonal colors of his sound. McCoy's wide experience as a soloist, chamber player and orchestral musician, and the expressive range of his instrument, finds him right at home in this engaging collection of eloquent dialogues with the double bass.
Men's Songs, Women's Voices
John Harbison: Mirabai Songs; Schubert: 4 Lieder; Saint-Saëns: La feuille de peuplier; Fauré: Cygne sur l'eau; Jules Massenet: Plus vite, Les nuages; Erich Korngold: Unvergänglichkeit
Richard Wilson: Three Painters
Georgine Resick, soprano; Warren Jones, piano
BRIDGE 9152 DDD 70:08
Soprano Georgine Resick's latest BRIDGE CD presents a fascinating recital of songs by male composers, based on poetry by women. The disc begins with the premiere recording of John Harbison's "Mirabai Songs" in their voice and piano version, and presents other rarely heard songs sung in French, German and English (translations enclosed). Of special interest is Korngold's voluptuous and rarely performed song cycle, "Unvergänglichkeit". Georgine Resick is an internationally recognized soprano in both the operatic and concert fields. Renowned for her Mozart and Strauss interpretations, she has sung a wide variety of leading roles with the Vienna State Opera, Chicago Lyric Opera, Paris Opera, Houston Grand Opera, and numerous others. Warren Jones has been the distinguished accompanist for Marilyn Horne, Luciano Pavarotti, Kiri Te Kanawa, Kathleen Battle and many other great vocalists of our time. Georgine Resick and Warren Jones's recent disc, "Songs of Aleksandr Grechaninov" (BRIDGE 9142), has received glowing reviews in the international press.
David Rakowski: Études, Volume 2; Études: #40 "Strident", #37 "Taking the Fifths", #39 "Sixth Appeal", #1 "E-machines", #33 "Sliding Scales", #3 "Nocturnal", #6 "Mano à mano", #10 "Corrente", #8 "Close Enough for jazz", #9 "Pollici e mignoli or The Virus That Ate New York", #34 "Chorale Fantasy", #31 "Usurpation", #47 "Fra Diabolis", #4 "Trillage", #5 "Figure 8", #38 "Silent But Deadly", #7 "Les Arbres embués", #32 "Boogie Ninths", #2 "BAM!", #46 "Durchrauscht die Luft", #41 "Bop It", #43 "Wiggle Room", #48 "What Half-Diminishes One (Half-Diminishes All)", #50 "No Stranger To Our Planet"
Amy Dissanayake, piano
BRIDGE 9157 DDD 77:02
David Rakowski's growing catalog of Études for piano has inspired performances and recordings by leading pianists on both sides of the Atlantic. Volume One of Amy Dissanayake's Rakowski Études series (BRIDGE 9121) drew raves for both Rakowski's quirky and witty music and Dissanayake's bold virtuoso pianism. "Superbly crafted, difficult to play, but fun to listen to, the etudes are laced with a dry wit. Brilliant pianist Amy Dissanayake dispatches them with a kind of elegant ferocity that takes your breath away. A splendid introduction to a composer with a fresh, distinctive voice."–John von Rhein, Chicago Tribune
Leontyne Price and Samuel Barber: Historic Performances (1938 & 1953)
1953 Recital: Leontyne Price, soprano; Samuel Barber, piano: Poulenc: Quatre Poemes de Paul Eluard; C'est ainsi que tu es; Barber: Hermit Songs, Op. 29; Sleep Now; The Daisies; Nocturne; Nuvoletta; Sauguet: La Voyante; Fauré: Au bord de l'eau; 1938, Curtis Institute Performance: Samuel Barber, baritone, accompanying himself at the piano: O waly, waly; The Deaf Woman's Courtship; Brother Greene; Zu dir; Batti, batti; Chi ti ci fa venir; Schumann: In der Fremde; Mendelssohn: Ist es wahr?; C.P.E. Bach: Nonnelied; Brahms: Der Gang zum Liebchen; Der Tod, das ist die kuehle Nacht; Schubert: Der Juengling an der Quelle.
Great Performances from the Library of Congress, Volume 19
BRIDGE 9156 ADD 79:43
This remarkable 1938 recording, released to the public for the first time, gives us the 28 year old baritone, Samuel Barber in 12 songs, accompanying himself at the piano. These little known performances reveal Barber as a singer/player of uncommonly deep communicative power. The performances (issued in cooperation with Mr. Barber's estate and the Curtis Institute in Philadelphia) include folk songs from England, America, the Tyrol and Tuscany as well as lieder by Schumann, Brahms, Mendelssohn, C.P.E Bach and Schubert. The 1953 recording features the spectacular twenty-six year old Leontyne Price, accompanied by Samuel Barber at the Library of Congress. The duo's entire recital is issued whole for the first time. In this recital the soprano and composer give the world premiere performance of Barber's "Hermit Songs", and perform Henri Sauguet's "La Voyante" (The Fortune Teller) and other songs by Barber, Poulenc and Fauré.
Mozart: Music for Piano, Four Hands Sonata in D Major, K. 381; Sonata in C Major, K. 521; Adagio and Allegro in F Minor, K. 594; Sonata in B-flat Major, K. 358; Sonata in F Major, K. 497 Nadia Reisenberg and Artur Balsam, piano, four hands BRIDGE 9148
BRIDGE 9149: Dan Trueman: Machine Language Six Chamber Works for Instruments and Computer Transformed Sound
Machine Language (1999) - Anna Lim, violin/Dan Trueman, electric violin/Arash Amini, cello/Danny Tunick, percussion; Counterfeit Curio (2002) - Non Sequitur/Dan Trueman, electric violin and laptop computer; Traps (2003) - the Daedalus String Quartet/Dan Trueman, electric violin and laptop computer; Spring Rhythm (2001) - the Brentano String Quartet; Still (2001) - Courtney Orlando, violin/Dan Trueman, electric violin and laptop computer/Florent Renard-Payne, cello; A Cappella (2003) - the Tarab Cello Ensemble
Machine Language is a collection of six recent chamber works by the American composer/violinist, Dan Trueman. Trueman's music is a sensuous and hypnotic blend of instrumental sound, subtly transformed through the use of computer applications. Quirky, sweet natured, and always texturally transparent, these six compositions herald a distinctly post-modern American voice, at once harmonically and rhythmically sophisticated, yet possessing an almost folk-like directness of _expression. In Counterfeit Curio the "old noisy recording" which ends the piece is in fact a fake, and the tune it holds is in fact original, and grows out of the music that precedes it. Traps is a delicate exploration of a simple computer process, where the computer memorizes and transposes selected music from the gentle and sustained string writing. In Machine Language, the longest piece on this CD, wispy but insistent figures very gradually morph into gently swinging lines in what the composer calls, "geological, as opposed to computational swiftness." Spring Rhythm was inspired by two disparate sources: the medieval motet and the famous "spatter" paintings of Jackson Pollock. Still was completed on 9/11/01, and was premiered just north of the WTC the following month. Trueman writes: "I went as close to the site as I could that evening. While not normally prone to paranormal thinking, I found it eerie that the musical ideas I was dealing with - continuity vs. discontinuity, slowly descending, vanishing gestures, recollection, disintegration, senses of place - were so overwhelmingly at work that day." A Cappella is a short, intimate piece, and was inspired both by the sheer beauty of a cappella vocal ensembles and by the abstract texture of some electronic music.
