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DANIELPOUR, R.: Preludes, Books 1 and 2, "The Enchanted Garden" (Xiayin Wang)

Composer(s):Danielpour, Richard
Artist(s) Wang, Xiayin, piano
Period(s) Contemporary
Genre Classical Music
Category Instrumental
Catalogue 8.559669
Label Naxos
Quality   320kbps
Album Price
 
MP3
USD 6.99
 

 


‘The first book of The Enchanted Garden was composed in 1992; the five preludes in that cycle were musical responses to dreams that I had and had eventually written about. The second book, written nearly seventeen years later in 2009, includes seven preludes; experiences and memories both recent and historical are the sources here and the origins of the titles. The fine line between dream and memory, between reality and fantasy has always intrigued me. The ancient Greeks believed that the “real” world was the unseen world.’ — Richard Danielpour


   




Review By Steven Ritter,Audiophile Audition,March 2012

The Enchanted Garden, refers to the garden of the mind of imagination and experience essentially. Cast in the guise of preludes, it is in two parts…Together they constitute a worthy set of piano pieces that can take their place among the best modern efforts, if not exactly competing with Chopin—but then, who does?

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Review By Steven Ritter,Audiophile Audition,March 2012

The Enchanted Garden, refers to the garden of the mind of imagination and experience essentially. Cast in the guise of preludes, it is in two parts…Together they constitute a worthy set of piano pieces that can take their place among the best modern efforts, if not exactly competing with Chopin—but then, who does?

more....


Review By Stefano Pagliantini,Musica,September 2011


8.559669_MUSICA_092011_IT.pdf


Review By Jed Distler ,Gramophone,July 2011

Although 17 years separate Richard Daniel pour’s two books of preludes that encompass The Enchanted Garden (1992–2009), the composer’s keyboard style remains remarkably consistent and skillfully crafted for maximum pianistic effect. Influences and inferences reveal themselves and often run rampant. The soft right-hand trills and delicate filigree supported by a left-hand ostinato midway through “Promenade” evoke Debussy rewritten by Hindemith. The agitated middle section of “Night” conjures up out takes from the Barber Sonata’s first movement, while curvy melodic figurations over a steady, loping accompaniment answer the musical question, “What if Erroll Garner and Prokofiev’s Seventh Sonata’s first movement

“Mardi Gras” is a dissonant, aggressive yet not so memorable samba. Think of Milhaud’s Scaramouche without the catchy tunes or the witty harmonic turns of phrase and you’ve got “Surrounded by Idiots”. “Lean Kat Stride” sounds like the snazzier parts of West Side Story covered with lead. The ghost referred to in No 11’s title may originally have been the scary kind but there’s nothing really frightening about reams of notes flowing from the spigot of Scriabin’s eight-tone scale. However, when Daniel pour gets out of his own way and allows his lyrical gifts to come to the fore, the real composer in him truly shimmers. Listen to the poignant processional chords and discreet dissonant touches in “Elegy” and “A Community of Silence”, while the achingly sparse “Winter Solstice” unfolds in the best Bernstein/Rorem/Sondheim tradition and seems far shorter than its eight-minute duration. Most of Xiayin Wang’s playing is polished and persuasive but the jazz-influenced pieces need a lighter, suppler touch. If young pianists begin to add these works to their jury and competition contemporary repertoire requirements, I wouldn’t be a bit surprised.

more....


Review By Jed Distler ,Gramophone,July 2011

Although 17 years separate Richard Daniel pour’s two books of preludes that encompass The Enchanted Garden (1992–2009), the composer’s keyboard style remains remarkably consistent and skillfully crafted for maximum pianistic effect. Influences and inferences reveal themselves and often run rampant. The soft right-hand trills and delicate filigree supported by a left-hand ostinato midway through “Promenade” evoke Debussy rewritten by Hindemith. The agitated middle section of “Night” conjures up out takes from the Barber Sonata’s first movement, while curvy melodic figurations over a steady, loping accompaniment answer the musical question, “What if Erroll Garner and Prokofiev’s Seventh Sonata’s first movement

“Mardi Gras” is a dissonant, aggressive yet not so memorable samba. Think of Milhaud’s Scaramouche without the catchy tunes or the witty harmonic turns of phrase and you’ve got “Surrounded by Idiots”. “Lean Kat Stride” sounds like the snazzier parts of West Side Story covered with lead. The ghost referred to in No 11’s title may originally have been the scary kind but there’s nothing really frightening about reams of notes flowing from the spigot of Scriabin’s eight-tone scale. However, when Daniel pour gets out of his own way and allows his lyrical gifts to come to the fore, the real composer in him truly shimmers. Listen to the poignant processional chords and discreet dissonant touches in “Elegy” and “A Community of Silence”, while the achingly sparse “Winter Solstice” unfolds in the best Bernstein/Rorem/Sondheim tradition and seems far shorter than its eight-minute duration. Most of Xiayin Wang’s playing is polished and persuasive but the jazz-influenced pieces need a lighter, suppler touch. If young pianists begin to add these works to their jury and competition contemporary repertoire requirements, I wouldn’t be a bit surprised.

more....

Review By Jed Distler ,Gramophone,July 2011

Although 17 years separate Richard Daniel pour’s two books of preludes that encompass The Enchanted Garden (1992–2009), the composer’s keyboard style remains remarkably consistent and skillfully crafted for maximum pianistic effect. Influences and inferences reveal themselves and often run rampant. The soft right-hand trills and delicate filigree supported by a left-hand ostinato midway through “Promenade” evoke Debussy rewritten by Hindemith. The agitated middle section of “Night” conjures up out takes from the Barber Sonata’s first movement, while curvy melodic figurations over a steady, loping accompaniment answer the musical question, “What if Erroll Garner and Prokofiev’s Seventh Sonata’s first movement

“Mardi Gras” is a dissonant, aggressive yet not so memorable samba. Think of Milhaud’s Scaramouche without the catchy tunes or the witty harmonic turns of phrase and you’ve got “Surrounded by Idiots”. “Lean Kat Stride” sounds like the snazzier parts of West Side Story covered with lead. The ghost referred to in No 11’s title may originally have been the scary kind but there’s nothing really frightening about reams of notes flowing from the spigot of Scriabin’s eight-tone scale. However, when Daniel pour gets out of his own way and allows his lyrical gifts to come to the fore, the real composer in him truly shimmers. Listen to the poignant processional chords and discreet dissonant touches in “Elegy” and “A Community of Silence”, while the achingly sparse “Winter Solstice” unfolds in the best Bernstein/Rorem/Sondheim tradition and seems far shorter than its eight-minute duration. Most of Xiayin Wang’s playing is polished and persuasive but the jazz-influenced pieces need a lighter, suppler touch. If young pianists begin to add these works to their jury and competition contemporary repertoire requirements, I wouldn’t be a bit surprised.

more....

Review By Record Geijutsu,June 2011


8.559669_The Record Geijutsu_072011_jp.pdf







 

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