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Pierre Boulez - Notations & Piano Sonatas - Pi-hsien Chen (2005) {hat[now]ART 162}

Posted By: ruskaval
Pierre Boulez - Notations & Piano Sonatas - Pi-hsien Chen (2005) {hat[now]ART 162}

Pierre Boulez - Notations & Piano Sonatas - Pi-hsien Chen (2005) {hat[now]ART 162}
XLD rip (secure mode) | FLAC (tracks)+CUE+LOG -> 236 Mb | MP3 @320 -> 180 Mb
Full Artwork @ 600 dpi (jpg) -> 15 Mb | 5% repair rar
© 2005 HAT HUT Records | hat[now]ART 162
Classical / Contemporary Classical / Post Modern / Piano Solo

Chen's survey of Boulez's piano music (bar the little competition piece Incises) invites comparisons with Paavali Jumppanen's accounts of the three sonatas released by Deutsche Grammophon earlier in the year. Both are first rate; Chen's tempi are marginally slower, but her approach is more dramatic - some of the early Notations are positively explosive - while Jumppanen explores Boulez's command of keyboard sonority more fastidiously. Both convey the energy of the young Boulez's piano writing.

It's hard to believe the Notations were composed 60 years ago, and the First Sonata, with its strange, intensely French flavour, followed a year later; this music still sounds astonishingly fresh.

A commonplace in today's new music scene/venues is pianists devoted to modernist repertoire must, in fact it is mandatory to play "complete" oeuvre of the primary architects of modernity and post-modernity as Boulez, now the late Stockhausen, Berio, Brown, Cage, Finnissy,Flynn,Feldman,string quartets as well;but any pianist who plays anything short of "complete" is somehow thrown into a pit of mediocrity, these /are the market force fields at work, every generation or so ups-the-anti-to stay in the game.The brilliant pianist Ian Pace was one who began all this, putting his "scent" down on the repertoire, as Arditti, playing everything, (more dog scent placed on the concert venues. )

I greatly admire pianists as Massimiliano Damerini or Nic Hodges, Mario Ormenti who have no pretensions of playing the "complete" totality of the modernist canon, they play only one or two Stockhausen "klavierstuck", one Boulez "Sonata", one Sciarrino :Sonata:. So there is more creative focus I suspect in each, each work is honed down over the course of years to a positive interpretive vision, with Ian Pace it is all questionable how much he actually comprehends, and his playing is rather sterile and unengaging.The playing enters a kind of safe mediocrity, a safewway house of playing,a center of expression is aimed at, as the final agenda.Aimard as well I admire for he carefully chooses what he plays, most notably the high symbolic order, of Ligeti, Messiaen, Boulez, and Carter; no surprise.
Ms. Chen is a wonderful pianist and her Boulez is very well focused,well-timed at least where each "Sonata" has their own special paradigms of interpretive problems, one is tempi, usually everything is break-neck, fast furioso speed in everything, What? no reflections on the context of the the work, well, this "Virilio-ian "Droma", ""speed"", effects, affects the modernist piano fragments here no matter when written as it does other particles of culture and communication.
Boulez's [Second Sonata] for example is usually played very fast,(everyone forgot Yvonne Loriod's recording) some play it as Jumppanen, in [31 minutes 12 seconds],the other end is Marc Ponthus who plays the same Sonata in [40 minutes]. Ponthus takes the slow "Lent" movement even slower to augment the "irrational" or surreal" dimensions of the movement.The late Claude Lefourt, and Idil Biret, Florent Bouffard and Pierre Aimard, are all fast people, [too much coffee].In the score Boulez indicates circa 32 minutes for a length.But that indication dates from the time it was written, Music is suppose to "live" with time, where we should not have a fixed interpretive center, a sign a signifier for a great work in the old pretensions of modernity.So it is fairly fascinating how 10 more minutes can be realized, "Read" into the work,the concpet of the piece certainly allows for it, written in the after-reality of WW2; But they prefer the violence of the work, and that fine and dandy,we still have much violence gratuitous brutaliies around us, like a permanent part of the neo-liberal order.
Chen joins them here, not going too far afield in her vision. The {Third Sonata} is very problematical not a piece that has entered the repertoire as readily as the previous; and she plays it very well.The indeterminate dimensions of structures, the "mobility" of the movements, and its unfinished element is fascinating to see how pianists/interpreters find a center for this.Although Boulez places so many directions in the work, that he should have written out the work;, the "alea" element, the "chance Mallarme-ian" dimension is really not exploited by Boulez, who was about 30 years old at the time of writing.

I haven't heard Marilyn Nonken who also plays all the :Sonatas:, and Herbert Henck as well. The [Third Sonata] can be more rarefied, more abstract, more elitist,more layering of resonances and timbres; other-"Other" worldly as well,yet deeply brutal and penumbral. All the piano pedals resonance is utilized for example, there are simply more fragments of piano timbre to deal with; The \First Sonata\ has no great mysteries,two movement, 8 minutes in total length although the more you play it, you see the direct similarities of shape and gesturethe of melodic realms and linear arrays with the (Second Sonata). Boulez had used the piano for his work-abstractions, like an aesthetic "workshop for his "texts" analysis, as he has said, the challenge of organizing infinity, density, complexity was left to his chamber worksperhaps the Two Books of "structures" have a more theoretical premise than htese "Sonatas", This gave Boulez the "Freedom, the context to write the "endless" "Le Marteau sans Maitre". Yet the [Second Sonata] as Ponthus has said enters another "Other" place,more of context than technical deployments, because of its gratuitous violence,brutal moments,structures, overwhelming for the senses, where as Dennett shows we can no longer take it all in; in one or even multiple experiences. Ponthus has good perspectives, shows he thinks about what he plays, not merely plays the works, readied for recording contract.

Chen is very close to Aimard, very mainstream here, and this is wonderful to experience. Barbara Dobretsberger has a wonderful analysis on the "First and Second Sonatas", if you happen to read German.

The "Notations" are here as well, the first pieces the young Boulez wrote within the gaze of Messiaen, and for their time they are exceedingly original, no Messiaen piano shapes here, very brutal, very raw power, and soon to be copied by the entire avant-garde for the next 20 years.

Performer:
Chen Pi-hsien - piano solo

Recording:
11 April 1997 at Tonstudio Teje van Geest (Notations);
14/15 February 2002 & 31 March 2004 at Sendesaal, Hessischen Rundfunk, Frankfurt am Main (Sonatas)


Works on This Recording
1.
Notations (12) for Piano by Pierre Boulez
Performer: Chen Pi-hsien (Piano)
Period: 20th Century
Written: 1945; France
2.
Sonata for Piano no 1 by Pierre Boulez
Performer: Chen Pi-hsien (Piano)
Period: 20th Century
Written: 1946
3.
Sonata for Piano no 2 by Pierre Boulez
Performer: Chen Pi-hsien (Piano)
Period: 20th Century
Written: 1948
4.
Sonata for Piano no 3 by Pierre Boulez
Performer: Chen Pi-hsien (Piano)
Period: 20th Century
Written: 1957

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Pi-hsien Chen / Pierre Boulez - Notations & Piano Sonatas - Pi-hsien Chen [Hat Hut]

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Pierre Boulez - Notations & Piano Sonatas - Pi-hsien Chen (2005) {hat[now]ART 162}

Pierre Boulez - Notations & Piano Sonatas - Pi-hsien Chen (2005) {hat[now]ART 162}



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