Eric Huebner - Désordre (2020) [Hi-Res]
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BAND/ARTIST: Eric Huebner
- Title: Désordre
- Year Of Release: 2020
- Label: New Focus Recordings
- Genre: Classical
- Quality: flac lossless / flac 24bits - 96.0kHz +Booklet
- Total Time: 01:04:01
- Total Size: 256 mb / 1.01 gb
- WebSite: Album Preview
Tracklist
01. Études pour piano, Livre I: No. 1, Désordre
02. Études pour piano, Livre I: No. 2, Cordes à vide
03. Études pour piano, Livre I: No. 3, Touches bloquées
04. Études pour piano, Livre I: No. 4, Fanfares
05. Études pour piano, Livre I: No. 5, Arc-en-ciel
06. Études pour piano, Livre I: No. 6, Automne à varsovie
07. Études pour piano, Livre II: No. 1, Galamb borong
08. Études pour piano, Livre II: No. 2, Fém
09. Études pour piano, Livre II: No. 3, Vertige
10. Études pour piano, Livre II: No. 4, Der Zauberlehrling
11. Études pour piano, Livre II: No. 5, En suspens
12. Études pour piano, Livre II: No. 6, Entrelacs
13. Études pour piano, Livre II: No. 7, L'escalier du diable
14. Études pour piano, Livre II: No. 8, Columna infinită
15. Trio for Violin, Horn & Piano: I. Andante con tenerezza
16. Trio for Violin, Horn & Piano: II. Vivacissimo molto ritmico
17. Trio for Violin, Horn & Piano: III. Alla marcia
18. Trio for Violin, Horn & Piano: IV. Lamento. Adagio
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Critically acclaimed pianist Eric Huebner releases his performance of György Ligeti's famous Études alongside his iconic Trio for Violin, Horn, and Piano with colleagues Yuki Numata Resnick and Adam Unsworth. Ligeti's attraction to stylistic influences from across the spectrum, including non-Western music cultures, while preserving a Hungarian core to his aesthetic, is apparent in Huebner's dynamic performances of these remarkable works.
Pianist Eric Huebner’s virtuosic release of Ligeti’s iconic etudes alongside his Trio for Violin, Horn, and Piano underscores the composer’s restless nature and attraction to various sources of aesthetic inspiration. Throughout the 1970s—after fourteen years in exile—György Ligeti made a number of return trips to his native Hungary. He had hoped to rekindle a relationship with the musical community of his homeland and reestablish himself as a ‘Hungarian’ composer. By the end of the decade, though, these efforts fizzled out, coinciding with a prolonged bout of illness and a fallow creative period. The works on this disc—the Études pour Piano (Livres I-II) and the Trio for Violin, Horn, and Piano (Hommage à Brahms)— followed this period of crisis in Ligeti’s life and marked a decisive stylistic shift in his output. This new style drew on, among other things, elements of neo-romanticism, alternate tunings and microtonality, curious flirtations with tonal harmony, Central European folk idioms, and a stunning diversity of non-Western traditions. The point was not his virtuosic ability to inhabit an array of contemporary and historical styles, but rather his inability to settle wholly in any one.
It could be said that Ligeti’s Horn Trio (1982) inaugurated this new trajectory both in its style and in its thematic inspirations. When the pianist, Eckart Besch, first approached Ligeti about composing a companion piece to the Brahms trio for violin, piano, and natural horn, the suggestion evidently sparked powerful associations. There are, for instance, well-documented personal associations for Ligeti between the sound of the natural horn and the alpenhorns he heard in the Carpathian Mountains as a child. In his Romanian Concerto of 1951, the natural horn solo of the third movement explicitly recalled these childhood memories. In the opening measures of Ligeti’s trio, the horn part bears an immediate resemblance to that earlier work. Furthermore, this horn melody unfolds over a skewed quotation, by the violin, of the ‘Lebewohl’ (“farewell”) horn call that opens Beethoven’s Piano Sonata, Op. 81a.
Ligeti named Chopin, Schumann, Scarlatti, and Debussy as primary influences in composing his first two books of piano etudes (1985-1994). Ligeti was by no means a virtuoso pianist, but he wrote his piano etudes at the keyboard and aimed to preserve that traditional sense of the genre as virtuosic technical study. In a playful subversion of the romantic pianist channeling musical ideas with sublime facility through a machine, Ligeti inserts his body as a faulty mechanical intermediary. Two machines—body and piano—engage in dialogue, producing unpredictable effects on the passage from thought to expression.
01. Études pour piano, Livre I: No. 1, Désordre
02. Études pour piano, Livre I: No. 2, Cordes à vide
03. Études pour piano, Livre I: No. 3, Touches bloquées
04. Études pour piano, Livre I: No. 4, Fanfares
05. Études pour piano, Livre I: No. 5, Arc-en-ciel
06. Études pour piano, Livre I: No. 6, Automne à varsovie
07. Études pour piano, Livre II: No. 1, Galamb borong
08. Études pour piano, Livre II: No. 2, Fém
09. Études pour piano, Livre II: No. 3, Vertige
10. Études pour piano, Livre II: No. 4, Der Zauberlehrling
11. Études pour piano, Livre II: No. 5, En suspens
12. Études pour piano, Livre II: No. 6, Entrelacs
13. Études pour piano, Livre II: No. 7, L'escalier du diable
14. Études pour piano, Livre II: No. 8, Columna infinită
15. Trio for Violin, Horn & Piano: I. Andante con tenerezza
16. Trio for Violin, Horn & Piano: II. Vivacissimo molto ritmico
17. Trio for Violin, Horn & Piano: III. Alla marcia
18. Trio for Violin, Horn & Piano: IV. Lamento. Adagio
Critically acclaimed pianist Eric Huebner releases his performance of György Ligeti's famous Études alongside his iconic Trio for Violin, Horn, and Piano with colleagues Yuki Numata Resnick and Adam Unsworth. Ligeti's attraction to stylistic influences from across the spectrum, including non-Western music cultures, while preserving a Hungarian core to his aesthetic, is apparent in Huebner's dynamic performances of these remarkable works.
Pianist Eric Huebner’s virtuosic release of Ligeti’s iconic etudes alongside his Trio for Violin, Horn, and Piano underscores the composer’s restless nature and attraction to various sources of aesthetic inspiration. Throughout the 1970s—after fourteen years in exile—György Ligeti made a number of return trips to his native Hungary. He had hoped to rekindle a relationship with the musical community of his homeland and reestablish himself as a ‘Hungarian’ composer. By the end of the decade, though, these efforts fizzled out, coinciding with a prolonged bout of illness and a fallow creative period. The works on this disc—the Études pour Piano (Livres I-II) and the Trio for Violin, Horn, and Piano (Hommage à Brahms)— followed this period of crisis in Ligeti’s life and marked a decisive stylistic shift in his output. This new style drew on, among other things, elements of neo-romanticism, alternate tunings and microtonality, curious flirtations with tonal harmony, Central European folk idioms, and a stunning diversity of non-Western traditions. The point was not his virtuosic ability to inhabit an array of contemporary and historical styles, but rather his inability to settle wholly in any one.
It could be said that Ligeti’s Horn Trio (1982) inaugurated this new trajectory both in its style and in its thematic inspirations. When the pianist, Eckart Besch, first approached Ligeti about composing a companion piece to the Brahms trio for violin, piano, and natural horn, the suggestion evidently sparked powerful associations. There are, for instance, well-documented personal associations for Ligeti between the sound of the natural horn and the alpenhorns he heard in the Carpathian Mountains as a child. In his Romanian Concerto of 1951, the natural horn solo of the third movement explicitly recalled these childhood memories. In the opening measures of Ligeti’s trio, the horn part bears an immediate resemblance to that earlier work. Furthermore, this horn melody unfolds over a skewed quotation, by the violin, of the ‘Lebewohl’ (“farewell”) horn call that opens Beethoven’s Piano Sonata, Op. 81a.
Ligeti named Chopin, Schumann, Scarlatti, and Debussy as primary influences in composing his first two books of piano etudes (1985-1994). Ligeti was by no means a virtuoso pianist, but he wrote his piano etudes at the keyboard and aimed to preserve that traditional sense of the genre as virtuosic technical study. In a playful subversion of the romantic pianist channeling musical ideas with sublime facility through a machine, Ligeti inserts his body as a faulty mechanical intermediary. Two machines—body and piano—engage in dialogue, producing unpredictable effects on the passage from thought to expression.
Year 2020 | Classical | FLAC / APE | HD & Vinyl
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