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Oppens Plays Carter

~ Elliott Carter (Composer), Ursula Oppens (Piano)

5.0 out of 5 stars See all reviews (1 customer review)

Price:	�12.69 & this item Delivered FREE in the UK with Super Saver Delivery. See details and conditions
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Product details

Composer: Elliott Carter
Audio CD (1 Dec 2008)
SPARS Code: DDD
Number of Discs: 1
Label: Cedille
ASIN: B001F114H6
Other Editions: MP3 Download

Average Customer Review: 5.0 out of 5 stars See all reviews (1 customer review)

Amazon.co.uk Sales Rank: 150,507 in Music (See Bestsellers in Music)

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2 of 2 people found the following review helpful:

5.0 out of 5 stars TocCarter !, 22 Jun 2009

By	N. E. M. Goulder (Saffron Walden, England) - See all my reviews (REAL NAME)

This is undoubtedly a special disc although inevitably one may have minor reservations. Ursula Oppens has been playing Carter's music for at least three decades now; few pianists would claim anything comparable to her background in this music. The programme is elegantly laid out, with the two larger scale works, Night Fantasies and the Sonata, separating three groups of smaller compositions. It is not the first disc claiming to be the complete piano music which has been overtaken by the continuing creativity of this extraordinary man - the premieres in Snape recently of Sistribute and Fratribute mean that there are two very brief new pieces missing. But these omissions are of slender importance - the body of Carter's achievement is here and a very fine group of works it is.
Core for any listener will be what Oppens does with Night Fantasies. She is really wonderful in many sections of it, constantly teasing the listener into thinking that every idea is fresh and spontaneous. Aimard is the main alternative in a disc coupling Night Fantasies with a superb Gaspard de la Nuit. Aimard articulates the music the more sharply, and also supplies a fine verbal discussion of the work, accompanied by piano excerpts and illustrations, and for some listeners that extra insight opportunity will be telling. But Oppens feels as though she lives and loves the music in a unique way. My old vinyl of Charles Rosen is dry and a little stilted by comparison with either, but (as Rosen pointed out) this is one of the few works written since the War that genuinely take the keyboard forward (alongside Boulez, Barraque, Messaien and the Stockhausen pieces, one assumes) and those who find themselves easy with the idiom (not by any means a straightforward matter) will probably want to sample several versions.
The Sonata is the other large piece. It dates from 1946, before Carter really found his voice, initially with the Cello Sonata of 1948 and then really the first Quartet. So the sonorities and harmonic language sit with much earlier thinking. But it's a well crafted work in which there is plenty to enjoy, and some contrapuntal writing that Oppens makes sound remarkably natural when it must be extremely hard to play articulately.
The smaller pieces are beginning to grow into a valuable collection, a little like Beethoven's return to the keyboard for his late bagatelles. for some there may be a little too much that could be characterised as being "merely" two-part inventions, but for all that there is constant creativity. The most fun of the whole disc comes right at the end, when Oppens takes on the formidable Catenaires, a constant chain of demisemiquavers running at some six per second, thrown all ends of the keyboard at lightning speed. I was on the edge of my seat when Aimard gave the London premiere, completely breathtaking to watch, on the composer's 100th birthday concert last December, and only this Saturday I heard Tamara Stefanovich do it at Blythburgh, faster and apparently more fluently and more extraordinary still. Oppens cannot match the suppleness of Stefanovich's incredible touch but she draws a little more out of the hammered martellato moments. It's a toccata right at the top of a tradition that goes back to baroque times - the most recent piece near it would probably be Prokofiev's - hard to credit anyone coming up with an invention like it, but from a composer aged 98 ... it has to be heard to be believed.
All in all this is a disc no one with an enthusiasm for Carter, Oppens or the great piano music of our time will want to miss.

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