Actor Jeff Goldblum is a distinctive presence in every role he plays, from his early portrayals in The Fly, Jurassic Park and The Big Chill, to recent turns in Law and Order: Criminal Intent and The Grand Budapest Hotel. Now Jeff brings his unique character, curiosity and enthusiasm to his newest adventure, as a jazz pianist and singer, releasing his second CD, I Shouldn't Be Telling You This.
After his live set being hailed as one of Glastonbury 2019's most iconic moments this summer, at which he announced from the stage that a brand new record was in the works, Jeff Goldblum released; 'I Shouldn't Be Telling You This' on Decca Records with his long-time band The Mildred Snitzer Orchestra, the enticingly-titled albumand features an impressive array of surprising duet guests.
LISTEN TO THE Judy Carmichael's Jazz Inspired SEGMENT
JUNO Award winner Laila Biali's deeply personal new album, Out of Dust features not only contributions from the singer/pianist's husband; Ben Wittman and son, but also multiple GRAMMY nominees and winners including Lisa Fisher, Alan Ferber, John Ellis, and Larnell Lewis. "There's a line from a song by the indie gospel group, Gungor, that has become like an anthem to me," Biali says. "‘He makes beautiful things out of dust.' That's where the title for the album comes from, and as a songwriter and musician, my ultimate intention and hope is to spread a little more love."
Laila Biali - Take Me to the Alley' makes KCRW: Los Angeles 'Rhythm Planet - Spring Mix' SEE THE ARTICLE & PLAYLIST
What are our musicians listening to during lockdown? GRAMOPHONE asked them each to nominate one recording that speaks to them at this particular time …
Soprano Sarah Traubel is the grand-niece of Helen Traubel, the famous Metropolitan Opera (and Hollywood) star soprano of the 1940s and 1950s. She holds a master's degree from the Manhattan School of Music. Her latest release is 'Arias for Josepha - Mozart's First Queen of the Night', is now available digitally from Sony Classical.
Sarah Traubel's pick is Wagner Die Meistersinger von Nürnberg Soloists; Bavarian State Opera Chorus and Orchestra / Wolfgang Sawallisch (Warner Classics)
she writes.....Wagner has always been with me, and not just because of my great-aunt and leading Wagnerian, Helen Traubel. My opera for these times of isolation would be his Meistersinger, his funniest and most humane work. If I had only one role to sing for the rest of my days, it would be Eva. The closing quintet offers some of the most beautiful yet devilishly difficult music ever written for the human voice. In this recording by Wolfgang Sawallisch, the conductor leads a legendary cast which includes Bernd Weikl as a Sachs of warmth and wisdom and Siegfried Lorenz as a Beckmesser, who for once is not a contorted fool but a real singer. Most importantly, Cheryl Studer's Eva with her amazing 'O Sachs! Mein Freund!' totally gets me every single time.
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What are our musicians listening to during lockdown? GRAMOPHONE asked them each to nominate one recording that speaks to them at this particular time …Gramophone's 2018 Young Artist of the Year, Soprano: Lise Davidsen's most recent release of Richard Strauss and Wagner was an Editor's Choice in June 2019. Her critically acclaimed performance as Leonore in Beethoven's Fidelio, from the Royal Opera House earlier his year, will be screened on BBC4 next month.
she's listening to.....JS Bach St John Passion Soloists; The Monteverdi Choir and English Baroque Soloists / John Eliot Gardiner (Archiv Produktion)
The last weeks have been emotional on many levels, and a lot of music passed through my mind when I was asked to suggest one album. From lighter pop-music to the Sieben Frühe Lieder by Alban Berg. But as so many times before, I go back to Bach to find a distraction from what I'm studying and performing, but also as a reminder of what I still think of as 'my music', even though I don't perform it any more. What can beat a great St John Passion when we are facing a stay-at-home Easter? There are many wonderful recordings, but this was one of the first that I was introduced to and it has stayed with me ever since. I love the conductor's choices in both tempi and phrasing. The simplicity from both choir, soloists and orchestra is maybe why I enjoy it so much and also return back to it all the time. And when we can't go and listen to it live during Easter I would suggest this one as a small comfort.
SEE GRAMOPHONE PAGE
What are our musicians listening to during lockdown? GRAMOPHONE asked them each to nominate one recording that speaks to them at this particular time … Cellist Hee-Young Lim is the first Korean musician ever appointed as Professor to the Beijing Central Conservatory and was previously appointed as the Principal Solo Cellist of the Rotterdam Philharmonic Orchestra, the first female Asian cellist to ever lead a section in a major European orchestra. Her second Sony Classical album, cello sonatas by Rachmaninov and Prokofiev, is set for release in June.
she selects.......Rachmaninov Piano Concerto No 2 Sergey Rachmaninov; Philadelphia Orchestra / Leopold Stokowski (RCA)
I would like to recommend Rachmaninov himself playing his own Second Piano Concerto. It's truly awe-inspiring and I never get tired of listening to how he performs his own work. His phenomenal playing and authentic interpretation have been a great inspiration for me. I've always listened to his playing of this Second Concerto when I am frustrated and it helps me get through challenging times. Knowing that he also went through depression – and this concerto was written after that difficult period in his life – makes me think that perhaps without the hardship, this concerto would not have been composed in this way or become such a masterpiece.
READ THE FULL GRAMOPHONE ARTICLE
Violins of Hope is an artistic and educational project that utilizes instruments once owned by Jewish musicians, many of which were played in concentration camps and ghettos. Israeli luthiers Amnon and Avshalom Weinstein have collected many of these instruments, refurbishing them to concert quality, and in this singularly engaging album, violinist Niv Ashkenazi and pianist Matthew Graybil bring to life music by many Jewish composers both dead and alive, including Serenade by Robert Dauber, Nigun by Ernest Bloch, the theme from "Schindler's List" by John Williams, The Chassid by Julius Chajes, Bestemming: Triumph by Sharon Farber, Trois pièces de concert by Szymon Laks, Dance of the Rebbitzen by George Perlman, both Berceuse Sfaradite and Three Songs Without Words by Paul Ben-Haim, and Kaddisch by Maurice Ravel.
Throughout the CD the immensely gifted Niv Ashkenazi and Matthew Graybil, his superb collaborative pianist both play soulfully imbuing the music with appropriate emotional depth though never falling prey to sentimentality. Altogether a worthy project, Violins of Hope provided this listener with a lovely listening experience.
READ THE FULL Rafael's Music Notes REVIEW
This is the latest in a series of recordings by Lyn Stanley focussing on the songs made famous by Julie London, along with two songs she feels Julie would have recorded if she had been around. A lot of play is being made of that fact that this is a direct to disc recording, and in that respect, it is quite an incredible effort, as they were recording without a safety net. It also meant that there were only a few seconds to reset their minds before going straight onto the next. This meant the recordings had to be completed one complete side at a time for the original vinyl release, no opportunity to overdub or fix problems. From there it was just the case of choosing which set to go with, and ‘Favourite Takes – London With A Twist – Live At Bernie's' was done.
I am sure the pure audiophiles will state the sound quality produced by this is incredible, and if I were listening to this on a high-quality record player/amplified/speakers I am sure I would agree. As it is I am using Bluetooth headphones connected to an iPhone, so while I can say it does sound well produced I can't comment any more than that given the sound I am listening to has been both compressed and cut up. For me this sounds like a studio recording, and therein lies the problem for me, in that Lyn does make mistakes and there are times when she is flat and times when she isn't really singing but going for emotional emphasis. In a live environment, or on a live recording then that can all be forgiven, but this sounds like a studio effort. Many jazz bands record live, but flubs and flaws are often fixed, and that isn't the case here. It is interesting, but even with a take of Springsteen's "Pink Cadillac" on offer I can't see me returning to it again.
SEE THE House of Prog Radio PAGE
‘Love Letters' marks a different direction for the internationally celebrated artist; it offers a shift in intimacy and content and comes at a pivotal time in her career as she signs to her new record label, Mercury KX.
Milan Records today announces the February 28 release of WENDY (ORIGINAL MOTION PICTURE SOUNDTRACK) with music by award-winning composer, songwriter and producer DAN ROMER and the film's award-winning director BENH ZEITLIN.
Wolfgang Muthspiel, whom The New Yorker has called "a shining light" among today's jazz guitarists, returns to the trio format with Angular Blues, the Austrian's fourth ECM album as a leader, following two acclaimed quintet releases and his trio debut.
World-renowned guitar hero Al Di Meola welcomes a new decade with an ambitious follow-up to his 2013 studio recording All Your Life: A Tribute to the Beatles with a sophomore homage to the Beatles, entitled Across The Universe, due out on earMUSIC on March 13, 2020.
How modern Igor Levit makes Beethoven's piano sonatas sound / theartsdesk picks
Posted: February 24, 2020 12:00 AM
| By: Admin
Welcome to theartsdesk - Classical CDs Weekly: Beethoven, Bruckner, Notice Recordings. Definitive box sets of sonatas and symphonies, plus striking new music from a US independent label by Graham Rickson for Saturday, 22 February 2020.
"Beethoven paid no attention at all to the conventions of his own time In fact, he only ever wrote music for the future." One strength of Igor Levit's magnificent traversal of Beethoven's piano sonatas is how contemporary, how disarmingly modern he makes many of them sound. Speeds in outer movements are generally swift, the dynamic contrasts extreme. Try No. 25's tiny last movement, pushed to the limit here and almost buckling under the strain. But there's so much energy and joy; you suspect that Beethoven would have approved. He would also have grinned at Levit's fizzing account of No. 25, the grace and flamboyance perfectly matched. One of this set's many attractions is hearing Levit doesn't underplay the earlier, less familiar sonatas. The first three, dedicated to Haydn, are wonderfully handled. No. 2's first movement is laugh-out-loud funny, and No. 3's finale closes with a nicely emphatic full stop.
Igor Levit's work on the 32 Beethoven Piano Sonatas has been the most important endeavour of the past 15 years of his life. This autumn will see his new studio recording of the complete sonata cycle released on Sony Classical on September 13 and represents the recorded testament to almost half his life spent in the study and performance of these sonatas. The release of this momentous 9-album cycle is one of the most eagerly awaited recordings for the 250-year Beethoven anniversary.
No other composer has had such an important influence on Igor Levit's life as that of Ludwig van Beethoven. He admits that this composer's music is around him practically every day and in almost everything he does. The profound impact of Beethoven's music- since his first emotional point-of-no-return with the Missa solemnis at age 13, followed by his first dedicated work on Sonata op. 2/2–has subsequently shaped Levit's approach to almost all music, whether he is playing Liszt, Shostakovich or Rzewski.
Sparked by the tragic death of a close friend in an accident, Igor Levit's piano playing reflects upon an experience of loss encompassing grief, despair, resignation and solace. He concentrates on works whose gloomy grandeur and melancholy beauty have occupied him for years. Each of them pays tribute to the virtuoso possibilities of the piano. Poetic moments of contemplative silence blend with life-affirming and extremely sensual music with a direct physical fascination. ...
Sony Classical announces the release of Pianist Igor Levit's third album - Bach, Beethoven, Rzewski. Available October 30, the album includes Bach's Goldberg Variations and Beethoven's Diabelli Variations, long considered acid tests of the performer's art, plus Frederic Rzewski's gigantic cycle on the Chilean revolutionary song ¡El pueblo unido, jamás será vencido!, which has the reputation of being nearly unplayable. Not content with canonized masterpieces, Levit is equally drawn to the physical challenge of Rzewski's virtuosic tightrope walks.
38 NEW 43 Total
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Igor Levit has recorded the Partitas by this incommensurable Bach, BWV 825-830: it's the second release by the 27-year-old pianist, whom many regard as the greatest talent of his time. With his debut album, featuring the late Beethoven sonatas, Levit already enjoyed great success and international critical acclaim: the album rose to no. 46 in Germany's Top 100 album charts.
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"Unlike those technically brilliant young pianists who dazzle briefly and disappear, Levit is pre-eminently a real musician who seems built to last." – The Guardian
For the last three years, Igor Levit's name has been the first to be mentioned whenever there has been talk of the most exciting of the younger generation of pianists. What is so surprising about Levit is not only the maturity of his interpretations, but his boundless appetite for new repertoire of works as difficult and demanding as possible. For his long awaited debut album, the twenty-six-year-old Levit has chosen some of the most challenging repertoire ever written for piano: Beethoven's last five piano sonatas. On his two-CD debut set, Levit is not just another young aspiring pianist releasing his debut album, but rather an outstanding artist who meets the exceptionally high demands of this extraordinary music. Levit's technical and artististic command in the difficult "Hammerklaviersonate" op. 106 is sure to be recognized as one of the most astounding accomplishments in recent history of Beethoven recordings.