Soliloquy at the Piano

1. You'd Be So Nice to Come Home To

2. No More Time

3. I Surrender, Dear

4. If I Had You

5. Don't Take Your Love from Me

6. Soliloquy

7. Caravan

8. There Is No Greater Love

9. Avalon

10. Lullaby of Birdland

11. Memories of You

12. Will You Still Be Mine?

Soliloquy at the Piano,Erroll Garner,Tristar,Bop,Jazz,Swing

Jazz

Music

jazz

Tracks:

The Things Our Fathers Loved
The Housatonic At Stockbridge
From The Swimmers
Memories (A - Very Pleasant, B - Rather Sad
Ann Street
Serenity (A Unison Chant)
1, 2, 3
Songs My Mother Taught Me
The Circus Band
The Cage
The Indians
Like A Sick Eagle
A Sound Of A Distant Horn
September
Soliloquy (Or A Study In 7ths And Other Things)
A Farewell To Land
Thoreau
Emerson
Hawthorne
The Alcotts
Thoreau

Amazon.com

Ives' Second Sonata is one of the toughest, but it holds no fears for Aimard, a noted interpreter of Messiaen, Ligetti, and other moderns who require virtuoso technique and idiomatic expertise. Each of its four movements is titled for New England luminaries: Emerson, Hawthorne, the Alcotts, and Thoreau. The longest, "Emerson," is knotty and energetic, bristling with a minefield of cluster chords. "Hawthorne" is a genial scherzo exhibiting a wider palette, while "The Alcotts" is a lyrical paean to domestic tranquility. "Thoreau" embraces the mysteries of nature, played with intensity by Aimard. There's an abundance of power in his playing, but also ravishing effects like the startling diminuendo in "Thoreau" and the array of marches, hymns, and parlor songs Ives threw into the mix. His terrific "Concord" Sonata is matched by the survey of Ives' inventive songs, 17 of them superbly sung by Susan Graham with Aimard superb as her piano partner. Graham captures every nuance of a mind-boggling variety of idioms, from nostalgia, tenderness, and hilarious miniatures like "Ann Street" and the sendup of opera in "Memories - A," among many other highlights. This one's a must for Ivesians, fans of musical eccentricity, modern music enthusiasts, and anyone in search of musical surprises, which abound on almost every track. --Dan Davis

Customer Reviews:

A European modernist embraces Ives.......2007-01-08

Chalres Ives was 46 when he published his "Concord"Sonata, and as the liner notes tell us, its sprawling shape and diverse styles are the result of gathering a lot of music previously composed (none of it for solo piano) and needing a single dwelling. Ives always had his own ideas about how music is held together or flies apart. He wasn't afraid to have it fly apart, and often his notion of coherence was so private, rooted in personal memories, that an outside listener can't be expected to penetrate the associations.

Aimard goes a long way in erasing the ecdentricity, privacy, and quirkiness of Ives's idiom bydrawing the sonata into the mainstream of European modernism, giving it the same clean, detailed, accurate, and impressionistic style that he might give to other individualists like Ligeti and Messiaen. (It's also nice to have the viola addition to the first movement and the flute in the fourth.) The "Concord" Sonata becomes a virtuosic event in his hands, no longer a purely "American" sport. I do find that listening to this vast work is better in concert, where its appearance is always a special occasion. But one has to be grateful for Aimard's quantum leap in execution compared to earlier recordings.

Ives gathered his huge output of 114 songs into a collection two years after the sonata. Susan Graham picks 15 of them, adding two more that folowed after 1922. These songs ask for a vocal chameleon who can shift instantly from Victorian parlor style to patriotic exuberance, folk song, whimsy, rapt nostaliga, and more. No one to date has been able to encompass this enormous range of expression, but Susan Graham comes as close as any. I would rank her with Jan De Gaetani, Thomas Hampson, and William Sharp among the singers I know who excel in Ives, and above the too-classical, somewhat congested renditions by Marilyn Horne and Jennifer Lamore. Aimard's accompaniment misses the Yankee flavor of the marches and patriotic snatches, but in its modernist way his style is as effective as in the sonata. Highly recommended for lovers of this music.

Great Performances, but the Star of this CD is Charles Ives.......2005-08-10

The uniquely atypical music of Charles Ives continues to mature and embed itself in the minds of larger and larger audiences every year. Practically every major orchestra in this country (and in Europe) now includes at least his symphonies in the standard repertoire. His music is probably as 'American' as any composed, so conjoined with literature and history and folksongs and all manner of Americana. This superb recording takes us one step further in appreciating Ives' gifts: his breathtaking Concord Sonata is coupled with one of the finest selections of his many songs and both sonata and songs are performed with consummate skill by pianist Pierre-Laurent Aimard and mezzo soprano Susan Graham.

Aimard's approach to this big piano work is one of direct approach to the complexities of line and mood and in that approach he doesn't allow his own personality to blur Ives' message. Aimard can tackle the impossibly difficult passages and keep them transparent: he can also find the inner quiet beauty as well as any other pianist. The result is a Concord Sonata of majesty and honest simplicity.

Susan Graham has long included Ives' songs in her recitals and that experience shows in her approach to this varied selection. Graham is an immensely intelligent musician, one who can find the meaning of even a brief song in an instant. She is in fine vocal form here, and her collaboration with Aimard completes a presentation that will be difficult to match. This is a fine recording and an excellent entry point for music lovers who may have been wary of Ives' challenges. Relax and enjoy this recital. Grady Harp, August 05

works grow and transform themselves.......2005-04-07

First off this is an Ives cornocopia of songs, all sung here with the reserve that is needed, I've heard too many American art Songs, Copland, Rorem and Ives with that wrongheaded "sing-songin" delivery, it is arrogant if nothing else, and the "cutsy-ness" of it does reach the audience,unless you simply want to be entertained and you checked your brain with your cash at the box office. Straightforward Ives is I think to most effective way of playing his music,that's why I still prefer the Kalish, he brings a gritti-ness to the Concord. Aimard (and all of us) has had time since the Seventies to think and re-think this piece, and there something should be said for the way music grows, transforms itself for different time periods, isn't that why music develops itself it is striongly constituted in the first place, it is well thought through, et cetra, construction all the obvious, Copland's "Piano Variations" is a similar example, the music simply changes with time, well we change, the music is fixed.So I guess there are simply different readings.

Aimard does bring some nice clarity,like to "Hawthorne", the blazing quickness searching until the "forearm" clusters stop the flow, the onward rush of the imagination, words can change the meaning of themselves this quickly which I think is what Ives saw in Hawthorne the writer.

For the "Alcotts" any kind of nostalgia is OK with me,the simple Bb triad timbres capturing the informed naivtivitee of the little home with Bronson Alcott the speaker public man of speaking (there is a difference between public speaking and lecturer,someone who teaches as opposed to simply speaking something Bush II knows quite well.Better simply to speak without saying anything.) This is not here however for Ives loved the Utopian aspect of Danbury existential renderings, the reflections back and forth of the lifeworld, the richness of culture of the complexity of the word,place, song, timbre,all in forms of strength all mixed blending together. Aimard simply brings things out I;ve never heard before, but then that is his approach always to clarify,and that is not always the best approach in Ives where his music does ask questions, his music we have learned should be opaque, and unexplanable,terse yet convoluted; it should not lead you by the nose at each and every moment.And Aimard I;m afraid does want to lead here. I think he thinks the opaqueness will happen by itself, its already in the music, he lets this occur in the fast sections,making it a pure texture,like Debussy, I guess Ives was an existential impressionist with transcendental content.

a fresh take on sonata no. 2.......2004-07-28

I have a slightly different view than with the previous review, as well as the Davis review. If you are a fan of Ives (you probably are if you are interested in this cd), then you may not need to bother with half of this cd. Messo Susan Graham is quite out of touch with the character studies of these wonderful songs. When she isn't yodelling many times louder than she ought to on some high notes to demonstrate her vocal command, she becomes the epitomy of boredom and banality. I imagine Ben Stein could give a more lifelike reading of 'The Circus Band'. The jovial cheer "hear the trombones!" sounds more akin to a yawn on this version. Since when did shear vocal power and sonic richness take such high precedence over interpretive skills? Have you really forgotten Jan de Gaetani's wonderous versions? I feel Graham has done a disservice to this music, and should probably go back to singing French arias which apparently she is quite good at.

The Concord Sonata is definetly the reason you may want to own this disc. Aimard is outstanding as per usual. Emerson does really come alive here, as does Hawthorne with it's dramtic tempo shifts. My main concern lies in the 3rd movement 'the Alcotts'. It is clearly a pastorale movement with a touch of sweet nostalgia. Aimard plays a little too deliberately here- not loose enough with the tempo or lively enough with the rhythms. That really is the only disadvantage. I don't think Aimard played the folk elements strongly enough.
I guess the main question is: if I own the Kalish recording of the Sonata, do I need this one too? Probably again, you are an Ives believer and this version has great insights- why not. Like the Kalish version, this one includes the optional viola line on Emerson and the flute part of Thoreau. They appear better realised with more dramatic impact on the Kalish recording- a minor point. Movement for movement Aimard has the first and seccond, but I prefer 3 and 4 on the Kalish. The 3rd mentioned above, and the fourth seems to have more gravity with Kalish, bringing more of a closure to the tempestuous nature of the work. Aimard shows a more whispy, impressionistic take as he also does at the start of Hawthorne, reminding of Debussy. Not inappropriate stylistically speaking, but definetly a matter of taste. Aimard is a winner and I love what he does for Ligeti and Messiaen. Overall a very successful Ives sonata, and a questionably performed set of songs, well-chosen as they might be. If you are new to Ives this should be enough to get you into further explorations.

It takes a Frenchman to capture an American masterpiece!.......2004-05-19

The "Concord Sonata" of Charles Ives has been described as "the greatest work written by an American." It's a big sprawling, glorious mess of a thing, inspired by the Transcendental writers Emerson, Hawthorne, Alcott and Thoreau. I first heard the ground-breaking version by John Kirkpatrick, and have long cherished the powerful account by Gilbert Kalish (recorded in the '70s). But hearing Pierre-Laurent Aimard play this piece makes me forget all about those earlier recordings. A specialist in Messian and Ligeti, Aimard plays Ives like one to the manner born. Forget any preconceived notions of what it means to be a "French pianist," and let this astonishing performance carry you away. The Alcotts movement has never felt so tender, and the Thoreau movement is likewise exquisitely balanced. Perhaps most enthralling is how he manages to give shape and sense to Emerson, and Hawthorne, the fiendishly hard scherzo, has never had a reading like this. I'd have been content with the sonata, but the disk also holds the gorgeous mezzo Susan Graham singing 17 Ives songs, with Aimard's brilliant accompaniments. A fabulous recording no serious American music collection should be without!

Charles Ives: Three Quarter-Tone Pieces; Five Take-offs; Hallowe'en; Sunrise

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Visionary Ives

Charles Ives: Three Quarter-Tone Pieces; Five Take-offs; Hallowe'en; Sunrise

Manufacturer: Naxos American
ProductGroup: Music
Binding: Audio CD

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Ives: Violin Sonatas Nos. 1-4
Ives: Holidays Symphony

ASIN: B0007ORDZ4
Release Date: 2005-03-22

Tracks:

The Housatonic At Stockbridge
Soliloquy, Or A Study In 7ths And Other Things
On The Antipodes
The Gong On The Hook And Ladder (Original Version)
Hallowe'en
In Re Con Moto Et Al
Sunrise
Remembrance
Aeschylus And Sophocles
The Seen And Unseen? (Sweet And Tough)
Rough And Ready Et Al. And/Or The Jumping Frog
Song Without (Good) Words
Scene Episode
Bad Resolutions And Good WAN!
Largo
Allegro
Chorale

Customer Reviews:

Visionary Ives.......2005-06-01

This review is dedicated to the memory of Bob Zeidler who shared on this site his love for and knowledge of the music of Charles Ives.

The Naxos "American Classics" series offers an unparalleled opportunity to get to know the music of the great American composer, Charles Ives (1874-1954). Prior CDs in the series focused on Ives's larger works, such as the symphonies, violin sonatas, and the Concord piano sonata. In contrast to the earlier releases, this CD includes a mix of shorter works performed by Continuum, a wonderful group of musicians based in New York City specializing in the performance of modern music. The CD had been released some years ago on Musical Heritage Society, and the release on Naxos was funded by the National Endowment for the Arts and the Charles Ives Society, Inc. There is every reason to be grateful.

Much of the music on this disk will be unfamiliar to many listeners, and it bristles with difficulties. Yet, unlike the case with other avant garde music, there is an unmistakable joyousness to these pieces -- a zest for life, a feeling for the United States and its potential, and a transcendent vision. An inspiring CD indeed!

There are three broad sections to this disk. The first section consists of nine short unrelated pieces, beginning with Ives's well-known song "The Housatonic at Stockbridge." The section also includes an eloquent short song, "Remembrance" which Ives wrote upon the death of his father, his mentor and inspiration. The works on this section are filled with raucousness and lyricism, often at the same time. Besides the two works mentioned, the highlights include "Halloween, for chamber ensemble, which begins quietly and works itself into a frenzy, and Ives's song "Sunrise" for voice, piano, and violin obligato which was his last completed work.

The second section on the program consists of Ives's "Five Take-Offs" for solo piano performed here by Joel Sachs, co-director of Continuum. Ives composed these pieces in 1909, but they remained unperformed until 1968. These pieces juxtapose with great effect the traditional and the outrageous. The first piece, "The Seen and the Unseen", for example contrasts a line with an almost blusey feel (shared by other pieces on the CD) with a background of clangorous chords in the piano. The next piece, called "Jumping Frog" again begins quietly but works itself up to a frenetic pace over a huge piano accompaniment. The third piece, "Songs without (Good) Words" draws on Mendelsohn for inspiration. It remains quiet and lyrical throughout while the harmonies become more complex. The final two pieces, "Some Episode" and "Bad Resolution and Good WAN" are mostly reflective and quiet, with the exception of a riotous passage at the close -- the good resolution.

The third work on this CD is Ives at his knottiest. The "Three Quarter-Tone Pieces" dates from 1924 and was composed for two pianos tuned one-quarter-tone apart. This is again the language of the blues as well as the language of modernity. The pianists here are Cheryl Seltzer and Joel Sachs, the co-directors of Continuum. The opening Largo contrasts deep banging chords on the piano against light swirling figures in the treble. The second movement, "allegro" has a ragtime feel as clashing chords alternate with swirling filigree in the pianos' upper register.
The finale, "Chorale" works itself into an intense climax based upon themes from "America" with a hint of "La Marseilles" at the end for good measure. This is invigorating, difficult and rewarding music.

The CD is somewhat short (less than 50 minutes). It will introduce the listener to some of the wilder creations of America's greatest composer.

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The need for more exciting organ literature

David Higgs at Riverside

Manufacturer: Gothic Records
ProductGroup: Music
Binding: Audio CD

Fantasies | Forms & Genres | Classical | Styles | Music

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ASIN: B00004WJMK
Release Date: 2000-09-26

Tracks:

Comes Autumn Time
This Is A Happy Land
I Love Thee, My Lord
Andante in D
Piece Heroique
Fantasmagorie
Free Fantasia On 'O Zion, Haste' And 'How Firm A Foundation'
Soliloquy
Ste, Op.5: Prld
Ste, Op.5: Sicilienne
Ste, Op.5: Toccata

Customer Reviews:

The need for more exciting organ literature.......2001-06-14

There is no doubt in my mind that D. Higgs is a very capable organist, however I was expecting a bit more from this CD. This mammoth instrument never fails to satisfy because of its size and versatility. However, one fails to perceive the enormous space in which the instrument is situated. The mixture of substantial organ works with those of the more "fluffy" variety did not seem to work. The gradual crescendo to the end of the Bolcom fantasia highlights the vast resources of this instrument all to be crowned by a blare of trumpets with full organ tutti.

The Complete Songs of Charles Ives, Vol. 3

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The Complete Songs of Charles Ives, Vol. 3

Manufacturer: Albany Records
ProductGroup: Music
Binding: Audio CD

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Charles Ives: Songs

ASIN: B0000049MM
Release Date: 1995-02-16

Tracks:

He Is There!
Weil' auf mir
The Cage
My Native Land
The Childrens' Hour
Old Home Day
Soliloquy
Illmenau
The See
Autumn
Pictures
Walt Whitman
Mists
Walking
A Farewell To Land
Luck And Work
Camp Meeting
Charlie Rutlage
His Exaltation
Watchman!
Vote For Names
From 'Lincoln The Great Commoner'
Lick A Sick Eagle
From 'The Swimmers'
At The River
Requiem
Afterglow
General William Booth Enters Into Heaven
To Edith
Religion
The New River
Down East
The Things Our Fathers Loved
In Flanders Fields
Tom Sails Away
They Are There

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Night Piece-Quiet Classics

Manufacturer: Koch Int'l Classics
ProductGroup: Music
Binding: Audio CD

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ASIN: B000001SKN
Release Date: 1996-11-19

Tracks:

Morceau de concours For Flute & Harp
Concerto For Harp And Orchestra (Lento)
Suite In Sol Maggiore For Orchestra And Organ (Lento)
Night Piece For Flute And Chamber Orchestra
Silent Noon
Three Tone Pictures
Suite For String Orchestra (Nocturne)
Cantilena e Scherzo For Orchestra And Harp
Duex Interludes For Flute, Viola And Harp (Andante Espressivo)
Night Soliloquy For Flute, Piano, & Strings
Diversions For String Orchestra (Andante)

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Garner - 20th Century One Man Band Pianist

Soliloquy at the Piano
Erroll Garner
Manufacturer: Sbme Import
ProductGroup: Music
Binding: Audio CD

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Campus Concert/Feeling Is Believing
Close-Up in Swing/A New Kind of Love

ASIN: B00002MV4O
Release Date: 1995-03-06

Tracks:

You'd Be So Nice to Come Home To
No More Time
I Surrender, Dear
If I Had You
Don't Take Your Love from Me
Soliloquy
Caravan
There Is No Greater Love
Avalon
Lullaby of Birdland
Memories of You
Will You Still Be Mine?

Customer Reviews:

Garner - 20th Century One Man Band Pianist.......2004-01-14

The first album on this single was probably Garner's last solo piano recording, SOLILOQUY. It clearly demonstrates how much piano this "colossus among pygmies" could play. Check out the opener of the album, "You'd Be So Nice To Come Home To" a great Cole Porter standard. Garner is in brilliant form here with a great intro and infectious swing from the beginning. He also shows how well he commanded his dynamic levels in any performance; he was a master of musical dynamics and contrasts. Since he could not read a note of music, key modulations never bothered him. He modulates three times in this performance without fail and continues to strut along like mad. Another great performance is his dramatic and spellbinding version of "I Surrender, Dear revealing Garner's special brand of pianistic Impressionism. "Don't Take Your Love From Me" is a gorgeous ballad perhaps coupled with a rather outdated sentimentality but nevertheless played with much feeling and a stomping Ab minor blues romp "Soliloquy" illustrates so well Garner's love of his instrument and his sheer joy of producing a good groove. 4 stars
Sound quality is OK but nor great. Better remastering should have been done.
The second album begins with one of Garner's most exhilarating and heart-stopping tracks, an electrifying version of Juan Tizol's and Ellington's classic "Caravan". Other gems can be found here. "Avalon", a 1920s hit for Al Jolson, receives a most joyful and sprightly delivery from Mr.G. Jazz pianist Garner's version of "Lullaby of Birdland" has been described by jazz piano great George Shearing as his favorite version of
his most famous composition. As always, Garner inserts a few ballads. On this album, two old warhorses, "There is No Greater Love" and "Memories of You". "Will You Still Be Mine?" is a classic from the Tommy Dorsey recordings and is given a typically joyful ride by Mr.Garner to close the proceedings. A must have for Garner fans and jazz piano aficionados.
5 stars

Fi-Yer!: A Century of African American Song

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Fi-Yer!: A Century of African American Song

Manufacturer: Albany Records
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000IAHY
Release Date: 1999-03-23

Tracks:

Ezekiel Saw de Wheel - Lawrence Brown, , Ann Sears
That Welcome Day - Lawrence Brown, Ann Sears
Night - Greg Brown, , Ann Sears
Sleep, Li'l Chile, Go Sleep! - Lawrence Brown, , Ann Sears
I'm A-Trav'ling to the Grave - Lawrence Brown, , Ann Sears
Sister Mary Had-A But One Child - Lawrence Brown, , Ann Sears
Po' Mo'ner Got a Home at Las' - Lawrence Brown, Hall Johnson, Ann Sears
Ride on, King Jesus - Lawrence Brown, , Ann Sears
Explanation - Lawrence Brown, Will Marion Cook, Ann Sears
Wid de Moon, Moon, Moon - Lawrence Brown, Will Marion Cook, Ann Sears
Whar Shill We Go When de Great Day Comes? - John Willie Boone, Lawrence Brown, Ann Sears
By the Pool of the Third Rosses - Lawrence Brown, , Ann Sears
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Breath of a Rose - Lawrence Brown, Ann Sears, William Grant Still
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Three Dream Portraits: Dream Variation - Lawrence Brown, Ann Sears
Three Dream Portraits: I, Too - Lawrence Brown, Ann Sears
Fi-Yer! (Fire!) - Lawrence Brown, Hall Johnson, Ann Sears

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Ives: Lieder

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Binding: Audio CD

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ASIN: B00004R7L8
Release Date: 2000-03-01

Southwest Chamber Music: Cage, Carter, Harrison, Partch, etc.

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A must for modern music lovers

Southwest Chamber Music: Cage, Carter, Harrison, Partch, etc.
John Cage , Elliott Carter , Lou Harrison , and William Kraft
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A must for modern music lovers.......2000-10-20

A monumental collection of some of the most important chamber works of the late 20th century, impeccably performed and recorded.

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Soliloquy at the Piano
Erroll Garner
Manufacturer: Musicrama/Koch
ProductGroup: Music
Binding: Audio CD

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Tracks:

You'd Be So Nice to Come Home To
No More Time
I Surrender, Dear
If I Had You
Don't Take Your Love from Me
Soliloquy
Caravan
There Is No Greater Love
Avalon
Lullaby of Birdland
Memories of You
Will You Still Be Mine?

Jazz Music:

Jazz Music

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