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The Piano Music Of Frank Bridge Vol 2 / Mark Bebbington
BRIDGE A Fairy Tale Suite. In Autumn. Miniature Pastorals, Set 1. Ătude rhapsodique. Graziella. Dramatic Fantasia. 3 Pieces. A Sea Idyll. Miniature Suite. Characteristic Pieces ⢠Mark Bebbington (pn) ⢠SOMM 82 (77:26)
I wonder when Frank Bridge was first led astray by Scriabin, forsaking the Lisztian bravado of the Dramatic Fantasia for the dark, sensuous tendrils of Graziella and the lascivious impressionism of the Characteristic Pieces. Mark Bebbingtonâs second volume of Bridge piano works stresses the later achievements, from 1917 on, leading up to and away from the big Piano Sonata of 1924. Ravel is a strong presence in the Fairy Tale Suite and elsewhere, but the themes, early and late, are all Bridge, and mostly memorable.
Whatever its roots, whether outrage at the Great War or more personal passions, the best of these miniatures are very good indeed, and demand the very best players. The works, like the Sonata, are simply not well enough known yet, and they need a broader performing tradition. I hope Russian pianists start to pick up on In Autumn, Graziella , and the other late works. Bebbington, like Ashley Wass and Kathryn Stott, has gone far beyond the âmereâ technical problems, which are not small, and the competing Bridge cycles complement each other. If you are going to get just one, then Iâd go with Wass on Naxos, whose piano I also just prefer in the upper octaves. But Bebbington conveys most of Bridgeâs range, and heâs especially good in the mini- Dante Sonata , which is the Fantasia, and in the 1921 Miniature Suite , with its Prokofievisms.
Ideally, Iâd like to hear a hypersensitive Slavic Scriabin interpreter have a tilt at Graziella and âWater Nymphsâ from the Characteristic Pieces. But all the pianists Iâm thinking of are dead. Maybe Tharaud for âFragranceâ and âBitter Sweetâ from the same Ravelian late set. As youâll gather, the serious competition for Bebbington and Wass is imaginary. The recommendation is real enough, though. Some of the music in this volume is more British and interesting than it is moving, but more than half of it is top-notch. Wass edges it for feel and expressive range, but Bebbingtonâs runs, trills, graded dynamics, and sweep are no disappointment.
FANFARE: Paul Ingram
BRIDGE A Fairy Tale Suite. In Autumn. Miniature Pastorals, Set 1. Ătude rhapsodique. Graziella. Dramatic Fantasia. 3 Pieces. A Sea Idyll. Miniature Suite. Characteristic Pieces ⢠Mark Bebbington (pn) ⢠SOMM 82 (77:26)
I wonder when Frank Bridge was first led astray by Scriabin, forsaking the Lisztian bravado of the Dramatic Fantasia for the dark, sensuous tendrils of Graziella and the lascivious impressionism of the Characteristic Pieces. Mark Bebbingtonâs second volume of Bridge piano works stresses the later achievements, from 1917 on, leading up to and away from the big Piano Sonata of 1924. Ravel is a strong presence in the Fairy Tale Suite and elsewhere, but the themes, early and late, are all Bridge, and mostly memorable.
Whatever its roots, whether outrage at the Great War or more personal passions, the best of these miniatures are very good indeed, and demand the very best players. The works, like the Sonata, are simply not well enough known yet, and they need a broader performing tradition. I hope Russian pianists start to pick up on In Autumn, Graziella , and the other late works. Bebbington, like Ashley Wass and Kathryn Stott, has gone far beyond the âmereâ technical problems, which are not small, and the competing Bridge cycles complement each other. If you are going to get just one, then Iâd go with Wass on Naxos, whose piano I also just prefer in the upper octaves. But Bebbington conveys most of Bridgeâs range, and heâs especially good in the mini- Dante Sonata , which is the Fantasia, and in the 1921 Miniature Suite , with its Prokofievisms.
Ideally, Iâd like to hear a hypersensitive Slavic Scriabin interpreter have a tilt at Graziella and âWater Nymphsâ from the Characteristic Pieces. But all the pianists Iâm thinking of are dead. Maybe Tharaud for âFragranceâ and âBitter Sweetâ from the same Ravelian late set. As youâll gather, the serious competition for Bebbington and Wass is imaginary. The recommendation is real enough, though. Some of the music in this volume is more British and interesting than it is moving, but more than half of it is top-notch. Wass edges it for feel and expressive range, but Bebbingtonâs runs, trills, graded dynamics, and sweep are no disappointment.
FANFARE: Paul Ingram
$20.99
The Piano Music Of Frank Bridge Vol 2 / Mark Bebbingtonâ
$20.99
Description
BRIDGE A Fairy Tale Suite. In Autumn. Miniature Pastorals, Set 1. Ătude rhapsodique. Graziella. Dramatic Fantasia. 3 Pieces. A Sea Idyll. Miniature Suite. Characteristic Pieces ⢠Mark Bebbington (pn) ⢠SOMM 82 (77:26)
I wonder when Frank Bridge was first led astray by Scriabin, forsaking the Lisztian bravado of the Dramatic Fantasia for the dark, sensuous tendrils of Graziella and the lascivious impressionism of the Characteristic Pieces. Mark Bebbingtonâs second volume of Bridge piano works stresses the later achievements, from 1917 on, leading up to and away from the big Piano Sonata of 1924. Ravel is a strong presence in the Fairy Tale Suite and elsewhere, but the themes, early and late, are all Bridge, and mostly memorable.
Whatever its roots, whether outrage at the Great War or more personal passions, the best of these miniatures are very good indeed, and demand the very best players. The works, like the Sonata, are simply not well enough known yet, and they need a broader performing tradition. I hope Russian pianists start to pick up on In Autumn, Graziella , and the other late works. Bebbington, like Ashley Wass and Kathryn Stott, has gone far beyond the âmereâ technical problems, which are not small, and the competing Bridge cycles complement each other. If you are going to get just one, then Iâd go with Wass on Naxos, whose piano I also just prefer in the upper octaves. But Bebbington conveys most of Bridgeâs range, and heâs especially good in the mini- Dante Sonata , which is the Fantasia, and in the 1921 Miniature Suite , with its Prokofievisms.
Ideally, Iâd like to hear a hypersensitive Slavic Scriabin interpreter have a tilt at Graziella and âWater Nymphsâ from the Characteristic Pieces. But all the pianists Iâm thinking of are dead. Maybe Tharaud for âFragranceâ and âBitter Sweetâ from the same Ravelian late set. As youâll gather, the serious competition for Bebbington and Wass is imaginary. The recommendation is real enough, though. Some of the music in this volume is more British and interesting than it is moving, but more than half of it is top-notch. Wass edges it for feel and expressive range, but Bebbingtonâs runs, trills, graded dynamics, and sweep are no disappointment.
FANFARE: Paul Ingram
