Giancarlo Simonacci - Cage: Piano Music, Vol. 4 (2012)
BAND/ARTIST: Giancarlo Simonacci
- Title: Cage: Piano Music, Vol. 4
- Year Of Release: 2012
- Label: Brilliant Classics
- Genre: Classical Piano
- Quality: flac lossless (tracks)
- Total Time: 03:24:20
- Total Size: 417 mb
- WebSite: Album Preview
Tracklist
01. Music for Piano 1 (1952)
02. Music for Piano 2 (1953)
03. Music for Piano 3 (1953)
04. Music for Piano 4-19 (1953)
05. Music for Piano 20 (1953)
06. Music for Piano 21-36 (1955)
07. Music for Piano 37-52 (1955)
08. Music for Piano 53-68 (1956)
09. Music for Piano 69-84 (1956)
10. ASLSP for Piano: I.
11. ASLSP for Piano: II.
12. ASLSP for Piano: III.
13. ASLSP for Piano: VII. (As 4th Piece)
14. ASLSP for Piano: V.
15. ASLSP for Piano: VI.
16. ASLSP for Piano: VII.
17. ASLSP for Piano: VIII.
18. One for Piano (1987)
19. One2 for 1-4 Pianos (1989)
20. One5 for Piano (1990)
Italian composer and pianist Giancarlo Simonacci delivers thoughtful performances of over three hours of John Cage's solo music for piano. The pieces range from the early to mid-'50s, when Cage was beginning to incorporate chance procedures into his compositions to a work from 1990. Music for piano (1952-1956), which is in 84 sections, takes up two of the three CDs. While Simonacci's may be among the fastest performances on record of ASLSP (for "As SLow aS Possible") for piano or organ, lasting about 26 minutes, it still comes across as unhurried and spacious. (The longest version, currently in progress using an organ in Germany, is scheduled to last 639 years, a shoo-in for the Guinness Book of World Records if that publication is still around.)
Simonacci is a specialist in modern and contemporary repertoire and has recorded a dozen discs of Cage's solo and ensemble music for piano, so he has obviously thought deeply about a unified approach to the composer's massive keyboard oeuvre. He plays each of the pieces with focus and attention to the composer's intentions, and his tempi and articulations are sensitive and shapely. Taken in its entirety though, the three-disc set offers little in the way of variety or differentiation between works (except for the differences between the pieces for prepared and unprepared piano, and whether or not the player uses the inside of the piano). The exception is ONE² for 1-4 pianos, which creates a unique sonic environment by using the sustain pedal throughout and by employing frequent extended instrumental techniques, many of which are unrecognizable as piano sounds. The overall sameness of the aural landscape, though, makes this a collection likely to be of interest only to the most hardcore Cage devotee. The sound is immaculate, clean, and realistic.
01. Music for Piano 1 (1952)
02. Music for Piano 2 (1953)
03. Music for Piano 3 (1953)
04. Music for Piano 4-19 (1953)
05. Music for Piano 20 (1953)
06. Music for Piano 21-36 (1955)
07. Music for Piano 37-52 (1955)
08. Music for Piano 53-68 (1956)
09. Music for Piano 69-84 (1956)
10. ASLSP for Piano: I.
11. ASLSP for Piano: II.
12. ASLSP for Piano: III.
13. ASLSP for Piano: VII. (As 4th Piece)
14. ASLSP for Piano: V.
15. ASLSP for Piano: VI.
16. ASLSP for Piano: VII.
17. ASLSP for Piano: VIII.
18. One for Piano (1987)
19. One2 for 1-4 Pianos (1989)
20. One5 for Piano (1990)
Italian composer and pianist Giancarlo Simonacci delivers thoughtful performances of over three hours of John Cage's solo music for piano. The pieces range from the early to mid-'50s, when Cage was beginning to incorporate chance procedures into his compositions to a work from 1990. Music for piano (1952-1956), which is in 84 sections, takes up two of the three CDs. While Simonacci's may be among the fastest performances on record of ASLSP (for "As SLow aS Possible") for piano or organ, lasting about 26 minutes, it still comes across as unhurried and spacious. (The longest version, currently in progress using an organ in Germany, is scheduled to last 639 years, a shoo-in for the Guinness Book of World Records if that publication is still around.)
Simonacci is a specialist in modern and contemporary repertoire and has recorded a dozen discs of Cage's solo and ensemble music for piano, so he has obviously thought deeply about a unified approach to the composer's massive keyboard oeuvre. He plays each of the pieces with focus and attention to the composer's intentions, and his tempi and articulations are sensitive and shapely. Taken in its entirety though, the three-disc set offers little in the way of variety or differentiation between works (except for the differences between the pieces for prepared and unprepared piano, and whether or not the player uses the inside of the piano). The exception is ONE² for 1-4 pianos, which creates a unique sonic environment by using the sustain pedal throughout and by employing frequent extended instrumental techniques, many of which are unrecognizable as piano sounds. The overall sameness of the aural landscape, though, makes this a collection likely to be of interest only to the most hardcore Cage devotee. The sound is immaculate, clean, and realistic.
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