Jacob Greenberg: Neo/Classic.

About

Pianist Jacob Greenberg curates recordings that possess deep insight into the repertoire, casting familiar works in a new context and presenting new works within a larger trajectory. His newest release draws a long arc connecting the music of Haydn and Mozart through Ravel and Stravinsky and all the way to Carter and Greenberg’s longtime colleague Phyllis Chen. Tying all these works together is, in Greenberg's words, "a rejection of opulence and indulgence in sound, and an orientation towards form, transparency, and concision."

Audio

# Audio Title/Composer(s) Time
Total Time 73:10
01Menuet sur le nom d'Haydn
Menuet sur le nom d'Haydn
2:12

Sonata in D major, Hob.XVI:42

Joseph Haydn (1732-1809)
02I. Andante con espressione
I. Andante con espressione
8:00
03II. Vivace assai
II. Vivace assai
3:01
0490+
90+
5:22
05Fantasy and Fugue in C major, K. 394
Fantasy and Fugue in C major, K. 394
8:13

Sonata in b minor, Hob.XVI:32

Joseph Haydn (1732-1809)
06I. Allegro moderato
I. Allegro moderato
6:51
07II. Tempo di Menuetto
II. Tempo di Menuetto
3:03
08III. Presto
III. Presto
4:21

Serenade in A

Igor Stravinsky (1882-1971)
09I. Hymne
I. Hymne
3:06
10II. Romanza
II. Romanza
2:55
11III. Rondoletto
III. Rondoletto
2:40
12IV. Cadenza Finale
IV. Cadenza Finale
2:56
13SumiTones
SumiTones
7:01
14Ten Variations on "Unser dummer Pöbel meint," K. 455
Ten Variations on "Unser dummer Pöbel meint," K. 455
13:29

The Classic era of the late 1700s: an age of invention, changing social structures, and balance, simplicity, and order in the secular arts.

Neoclassic music: a rejection of opulence and indulgence in sound, and an orientation towards form, transparency, and concision. Its freshness often has a startling impact.

Maurice Ravel’s Menuet sur le nom d’Haydn is a gauzy valentine which uses the musical notes of the great composer’s name to make an antique, miniature tribute.

Haydn’s two-movement D-major sonata is about omissions: what’s implied in a silence and not stated, and a harmonic resolution which coyly delays to the very end of a movement.

Elliott Carter’s 90+ is a birthday tribute to the composer Goffredo Petrassi: ninety regular, accented pulses in a constantly changing context, with a few more notes to wish his friend more happy returns. Carter’s three-dimensional counterpoint of lines and shifting tempos shows an unusual concentration of character, and refinement of complex ideas.

A wildly contrasting two-scene drama, Mozart’s little-heard Fantasy and Fugue in C follows uninhibited extravagance with a dignified theme, thoughtfully examined.

Haydn’s three-movement b-minor sonata begins with austere pomp, followed by an amiable minuet (with some interrupting bluster), and finishes with a furious dervish.

A new contract with Brunswick Records was the occasion for Stravinsky’s Serenade in A, whose four movements each fit on one side of a 78 RPM record. Starting with a riff on Chopin, it explores a minuet and a perpetual motion before embracing sweet nostalgia.

Phyllis Chen’s grandfather, a Chinese calligrapher, reduced his art down to pure essentials. His Classicism was about expressive precision. The curving phrases in SumiTones, a commission heard in its premiere recording, use printed noteheads in shades of grey and black. The dreamy piece is a meditation on the dance between brush and paper.

An operatic comic aria by Gluck about common folk inspired variations by Mozart. They transform the original’s humor into something more florid, yet always down-to-earth. First improvised in concert by the composer with Gluck in attendance, they were later crafted into one of Mozart’s biggest and most charming sets of keyboard variations.

All works recorded at Oktaven Audio, Mount Vernon, NY, between October 2017 and August 2019, Steinway piano

Editions: Durand (Ravel), Wiener Urtext (Haydn D major), G. Henle Verlag (Haydn b minor and Mozart), Boosey and Hawkes (Carter, Stravinsky ed. Soulima Stravinsky), Memoirist Publishing (Chen)

Produced by Jacob Greenberg

Recording Engineer, Session Producer: Ryan Streber, oktavenaudio.com

Digital Editing, Mixing, Mastering: Ryan Streber

Assistant Editors: Edwin Huet, Charles Mueller

Design: Jessica Slaven, jessicaslaven.com

Special thanks to Hinda Greenberg, David Greenberg, and the New York Foundation for the Arts

This recording is for Judy Waterman

Jacob Greenberg

Pianist Jacob Greenberg’s work as a soloist and chamber musician has received worldwide acclaim. As a longtime member of the International Contemporary Ensemble (ICE), he has performed throughout the Americas and Europe. His solo concert series, Music at Close Range, shows his equal commitment to classics of the repertoire.

A leading pianist of modern song, he has toured extensively with soprano Tony Arnold; their 2013 recording of Olivier Messiaen’s Harawi has been singled out by critics. Other ensemble performances include MusicNOW, with members of the Chicago Symphony, and Contempo at the University of Chicago. As an orchestral player, he has also appeared with the New York Philharmonic, Israel Philharmonic, and Australian Chamber Orchestra.

In addition to his solo albums for New Focus Recordings, which feature works by over a dozen composers, Mr. Greenberg has recorded for the Nonesuch, Sony, Bridge, Naxos, Mode, Kairos, Centaur, Tzadik, and New Amsterdam labels. Live performances have been heard on WQXR New York, BBC Radio 3, WFMT Chicago and Radio Netherlands. Mr. Greenberg is also a record producer, and has completed discs for major domestic and international labels. He is the director of ICE’s in-house Tundra imprint. As a composer, he makes recorded pieces with spoken and sung texts.

Recent highlights include a guest performance of works of György Kurtág at the International Summer Courses in Darmstadt, Germany, under the composer’s guidance; a recital tour with flutist Claire Chase; Boulez’s Sur Incises with the Seattle Symphony; and solo and concerto appearances with ICE at Lincoln Center’s Mostly Mozart Festival.

Mr. Greenberg is on the faculty of the Tanglewood Music Center, and has taught at Hunter College, City University of New York, The Juilliard School, and the State University of New York at Buffalo. He is a graduate of Oberlin College, where he earned degrees in music and religion, and he completed his master’s and doctoral degrees at Northwestern University, where he studied with Ursula Oppens. Please visit jacobgreenberg.net.

http://www.jacobgreenberg.net

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