Hania Rani's new album, Ghost, is not what I was expecting at all. I suppose there are those who won't be too surprised. I don't think I will be listening to this too often, but right now, in the middle of night when I can't sleep it is rather perfect. Though I don't find it nearly as creative as her previous work, I will still recommend it,...despite the simple beats and one trick pony vocals.
As everyone knows, #VíkingurÓlafsson's #JSBach: Goldberg Variations was released today, but there were two other new releases today worth noting. #HaniaRani released her new album, Ghost, and Frank Peter Zimmermann finally, finally, finally, released #Bach: Sonatas and Partitas, Vol. 2. Why there had to be two volumes, I don't know, but I have dozens of recordings of Bach's Sonatas and Partitas and Zimmermann is solid.
@classicalmusic Hania Rani's new album, Ghosts, is not what I was expecting at all. I suppose there are those who won't be too surprised. I don't think I will be listening to this too often, but right now, in the middle of night when I can't sleep it is rather perfect. Though I don't find it nearly as creative as her previous work, I will still recommend it,...despite the simple beats and one trick pony vocals. I do hope she does not "go pop."
A tuneful piano quartet by Louise Adolpha Le Beau (whose cello sonata I posted here a while back); it is said to have received a standing ovation at its premiere in 1882:
Listening to Andrey Gugnin's album, Shostakovich: Preludes & Piano Sonatas, and I am conflicted about Gugnin's performance. The album received some great reviews, rewards, and nominations. However, I think that Gugnin only understands #Shostakovich as an intellectual, which he certainly was, but the performance seems to leave out soul. That being said, I would still recommend the album. The album is on sale at Presto Music until 11/27 #piano#DmitriShostakovich@classicalmusic@classicalpiano
Written in 1841, its ingenious harmonic development is an example of how Hensel’s work anticipated the avant-garde of the second half of the 19th century.
It also makes good use of the “three-hand technique”, with right-hand figures, above the melody, suggesting the river in Goethe’s poem An den Mond (To the Moon).
A bang-up performance of, admittedly, one of Carl Maria von Weber's minor pieces (though one I regard fondly because a flute-cello-piano trio I was a member of in my youth performed it), his Opus 63 trio: