Orange Mountain Music is proud to announce the availability of “The Complete Piano Etudes,” a two-disc set covering both volumes of Glass piano etudes, 20 pieces in all. In addition to the first book (Etudes Nos.1-10) recorded anew with virtuoso Maki Namekawa, this set contains the world premiere recording of the second book of etudes (Nos.11-20) including the incredibly Romantic 20th Etudes. 125 minutes of music in total.
Along with the two books of piano studies by Gyorgy Ligeti, the Etudes of Philip Glass have taken their place as modern classics of the literature, serving both a didactic purpose to train the fingers and minds of their performers, but also bringing their unique soundworlds to new audiences. Glass himself remarked that the first book, compiled from work between 1991 and 2012, had a twin objective, to explore a variety of tempi, textures and piano techniques.
To the outside observer, Looking Glass were one of the luckiest bands to come up during the early '70s – and doubly so, coming out of New Jersey in 1972 with a number one hit, three years before anyone was thinking about Bruce Springsteen & the E Street Band, and getting radio play on the song that has carried over into the oldies and '70s nostalgia boom over the decades since. Ironically, the bandmembers were never entirely happy with either the hit or the nature of the success that it brought them, mostly because it didn't represent what Looking Glass actually sounded like.
Claudio Arrau was past his prime when, in the mid-1980s, he offered these final thoughts on the late sonatas, but he was still a sovereign interpreter, with a sense of line and grasp of form few other exponents of this music have possessed in comparable degree. Where an interpreter like Pollini emphasizes the energy in Beethoven’s writing for the piano, Arrau conveys its mass, giving these sonatas a symphonic treatment.
Esoteric Recordings is proud to announce the release of a new 2 CD set anthologising all the recordings made by the legendary STRAY for Pye Records and its imprint Dawn Records between 1975 & 1976. After five remarkable albums and tours with some legendary names in rock such as Black Sabbath, The Groundhogs, Status Quo and Ten Years After, Stray signed to the Pye Records label in 1975. During sessions for their first album for the label, “Stand Up and Be Counted”, Steve Gadd departed the band. Second guitarist Pete Dyer joined Stray and Del Bromham, the band’s main song writer, now handled lead vocal duties. Over the next eighteen months Stray recorded two further excellent albums for Pye, “Houdini” and “Hearts of Fire”, toured the USA and supported the likes of Kiss and Rush on British tours.
These classic performances belong in the collection of anyone who cares about Debussy's piano music. Certain creators and re-creators become synonymous. Beethoven and Schnabel, Chopin and Rubinstein at once spring to mind. Yet in the entire history of performance I doubt whether there has ever existed a more subtle or golden thread than that between Debussy and Demus. French jibes about the reduction of Debussy’s clarity to a charming but essentially decorative opalescence are little more than the bitter fruit of envy, of an exclusivity, that finds an Фгыекшфт pianist’s supreme mastery of their greatest composer’s elusive heart and idiom hard to stomach.