Piano Sheet Music (ピアノ楽譜) | Thayne Bohman
Exiled from Vienna in 1939, aged 18, Arlen spent much of his career as a music critic on the Los Angeles Times. His songs, beautifully rendered by Rebecca Nelsen and Christian Immler (Danny Driver, piano), feel as if time stopped just before his flight. Tonal to a fault and meticulous in their attention to word colour, they set a range of texts from the Bible to Czeslaw Milosz in a gentle, regretful way. At times, you wish Arlen might have permitted himself a little rage.
[ t r a h a . d e ] - v4.22 - the sound of freedom..
A contemporary of Mahler and Strauss though, by his own admission, a small talent, Kienzel had a transient hit with an opera Der Evangelimann, but for the most part just enjoys writing songs for his friends. The idiom seldom advances beyond early Brahms but the manner is unfailingly agreeable and the singing here by Christiane Libor, Carsten Süss and Jochen Kupfer, with producer Stacey Bartsch at the piano, is fine and often fun. Expect no ironies or depth, but the song’s the thing and the sound’s exemplary. I particularly liked An die Nacht (track 21).
Among John Cage’s multiple legacies, the piano looms largest. Bursting into music in California without the benefit or inhibition of a European tradition, Cage stuck nails and bits of wood between the strings of a concert grand to create a ‘prepared piano’, emitting quasi-oriental sounds of hypnotic fascination. That invention dates from 1940s Los Angeles, where the ungainly Cage was taking music lessons from the uncomprehending old-revolutionary, Arnold Schoenberg.