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Margarita Glebov - Complete Music for Piano Solo - COMPACT DISCS [CD]

SKU: 10568625

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Abram Chasins (1903-87) began his career as a pianist and composer but as broadcaster and writer soon became one of the best-known cultural commentators in the USA. His output of music for solo piano - recorded here complete for the first time - dates from his first years in the public eye, and although he made little attempt to promote it himself, one sees instantly why it was so well received at the time sweeping keyboard textures and grand Romantic gestures expressed in a style somewhere between Rachmaninov and Prokofiev, sometimes with echoes of Chopin and Gershwin. The works here range from witty character pieces, some intended for children, and affectionate tributes to other pianists to more serious abstract essays - and Chasins, too, was a member of the club of composers who wrote 24 preludes in all the major and minor keys.

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  • Genre
    Classical
    Description
    Abram Chasins (1903-87) began his career as a pianist and composer but as broadcaster and writer soon became one of the best-known cultural commentators in the USA. His output of music for solo piano - recorded here complete for the first time - dates from his first years in the public eye, and although he made little attempt to promote it himself, one sees instantly why it was so well received at the time sweeping keyboard textures and grand Romantic gestures expressed in a style somewhere between Rachmaninov and Prokofiev, sometimes with echoes of Chopin and Gershwin. The works here range from witty character pieces, some intended for children, and affectionate tributes to other pianists to more serious abstract essays - and Chasins, too, was a member of the club of composers who wrote 24 preludes in all the major and minor keys.
    Artist
    Margarita Glebov
    Title
    Complete Music for Piano Solo
    Format
    CD
    Label
    Toccata
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Abram Chasins (1903-87) began his career as a pianist and composer but as broadcaster and writer soon became one of the best-known cultural commentators in the USA. His output of music for solo piano - recorded here complete for the first time - dates from his first years in the public eye, and although he made little attempt to promote it himself, one sees instantly why it was so well received at the time sweeping keyboard textures and grand Romantic gestures expressed in a style somewhere between Rachmaninov and Prokofiev, sometimes with echoes of Chopin and Gershwin. The works here range from witty character pieces, some intended for children, and affectionate tributes to other pianists to more serious abstract essays - and Chasins, too, was a member of the club of composers who wrote 24 preludes in all the major and minor keys.

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The available information concerning Colombo, ossia La scoperta dell'America is dubious. Various hypotheses have been put forth in the last years, including the suggestion that the work is a fragment of an unfinished opera composed on a text by Felice Romani. The most recent research, however, seems to support the theory that the composition was originally conceived as a scenic cantata, that is, a cantata which was destined for the stage. This genre, quite in vogue in the first half of the century, usually served to celebrate a particular event (royal birthdays and weddings, state visits, illustrious funerals, various commemorations). For these occasions, the composer on hand would be called upon to provide his patron with an undemanding work designed to highlight the vocal prowess of one or more soloists, but without particular aesthetic aspirations, in light of it's InchdisposableInch nature. Colombo, cantata for baritone, chorus and orchestra, was first staged at the Teatro di San Carlo in Naples on 25 April 1838. It was part of a larger spectacle including dances and operas scenes by various authors and starred the singer Paul Barroilhet, who had successfully impersonated many of Donizetti's roles. The poetry - perhaps attributable to Donizetti himself, who had been his own librettist on more than one occasion - are not unlike those typical of an opera libretto. They establish a veritable dialogue between the soloist (Christopher Columbus)and the chorus (the sailors of his ship), and are complete with stage directions aimed at an actual theatrical performance in costume (see, for example, the opening InchThe sailors are lying on the ground and others are standing in great distressInch; and toward the end InchColombus runs to see the land, then kneels down and remains in this position, thanking the heavens, until the cabalettaInch). The version reproduced in this

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