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Generally recognized as the father of the American Neo-Romantic movement in music, David Del Tredici has received numerous awards, including the Pulitzer Prize. His recent energetic output for piano solo is due partly to a close artistic collaboration with Marc Peloquin, resulting specifically in S/M Ballade, a pianistic terror. The finale of Gotham Glory is another virtuoso test, Del Tredicis celebration of New York closing with a Grand Fantasy derived from a waltz by Emil Waldteufel. This is the first of three volumes of David Del Tredicis complete piano music, with its generously rewarding combination of achingly expressive romanticism, subtle references and ever-present sense of covert and overt drama.
Product Description
Aeolian Ballade - Ballad in Lavender - Ballad in Yellow - S/M Ballade - Gotham Glory / Marc Peloquin, piano
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4.0 out of 5 stars
Glorious Counterpoint
31 Oct 2012
By Digital Chips, Inc.
- Published on Amazon.com
Format:Audio CD
David Del Tredici has an affinity for counterpoint -- and the talent to compose it, too. That impression really comes through in this new collection from Naxos. The release is mostly made up of what Del Tredici terms "Ballades," although they're actually paired toccatas and fugues.
The Aeolean Ballade is the most tonal of the bunch, using primarily the white keys on the piano. The Ballade in Lavender and the Ballade in Yellow are more adventurous, with pianistically challenging free sections (the toccata parts) moving to highly structured fugues of breathtaking complexity.
The S/M Ballade mixes tonal and atonal elements in an interesting fashion. The title suggests something edgy, and the music delivers. This is a deliciously dark thrill ride that give the pianist plenty to work with (and the listener plenty to absorb).
Pianist Marc Peloquin is more than up to the challenge of these works. No matter how difficult the material, he never seems to break a sweat. And his interpretation -- especially in the fugal sections -- keeps the music from sounding dry and academic. In Peloquin's hands, complex counterpoint seems to just grow naturally out of what comes before, like a flower blooming.
The title track, Gotham Glory, is Del Tredici's love letter to his native New York City. The work has some Gershwin-like jazz inflections, that provide a NYC flavor to the music, but the composition is Del Tredici's own. The first movement serves as a prelude, and the second is a fugue,and the third a perpetual canon, (which makes the work fit in with the rest of the program).
The fourth movement "Wollman Rink" is subtitled a "Grand Fantasy on the Skaters' Waltz" and is as long as the preceding three movements combined. It harkens back to the grand fantasies of the late romantic composers (with distinctively modern harmonies, however), and is a real showpiece for the pianist. And Peloquin doesn't disappoint.
The Aeolean Ballade is the most tonal of the bunch, using primarily the white keys on the piano. The Ballade in Lavender and the Ballade in Yellow are more adventurous, with pianistically challenging free sections (the toccata parts) moving to highly structured fugues of breathtaking complexity.
The S/M Ballade mixes tonal and atonal elements in an interesting fashion. The title suggests something edgy, and the music delivers. This is a deliciously dark thrill ride that give the pianist plenty to work with (and the listener plenty to absorb).
Pianist Marc Peloquin is more than up to the challenge of these works. No matter how difficult the material, he never seems to break a sweat. And his interpretation -- especially in the fugal sections -- keeps the music from sounding dry and academic. In Peloquin's hands, complex counterpoint seems to just grow naturally out of what comes before, like a flower blooming.
The title track, Gotham Glory, is Del Tredici's love letter to his native New York City. The work has some Gershwin-like jazz inflections, that provide a NYC flavor to the music, but the composition is Del Tredici's own. The first movement serves as a prelude, and the second is a fugue,and the third a perpetual canon, (which makes the work fit in with the rest of the program).
The fourth movement "Wollman Rink" is subtitled a "Grand Fantasy on the Skaters' Waltz" and is as long as the preceding three movements combined. It harkens back to the grand fantasies of the late romantic composers (with distinctively modern harmonies, however), and is a real showpiece for the pianist. And Peloquin doesn't disappoint.
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