Stefan Wolpe: Compositions for Piano (1920-1952)

Track Listings
1. Sonata No. 1 Stehende Musik - Sehr Schnell    
2. Sonata No. 1 Stehende Musik - Fast langsam    
3. Sonata No. 1 Stehende Musik - Schnell (inc.)    
4. Adagio. Gesang, weil ich etwas Teures verlassen muss    
5. Tango (1927)    
6. The Good Spirit of a Right Cause (1942)    
7. Encouragements for Piano, First Piece, Battle Piece - Quasi Presto    
8. Encouragements for Piano, First Piece, Battle Piece - Molto sostenuto    
9. Encouragements for Piano, First Piece, Battle Piece - Con moto ma non troppo    
10. Encouragements for Piano, First Piece, Battle Piece - Vivo    
11. Encouragements for Piano, First Piece, Battle Piece - Moderato    
12. Encouragements for Piano, First Piece, Battle Piece - Con brio    
13. Encouragements for Piano, First Piece, Battle Piece - Allegro ma non troppo    
14. Waltz for Merle (1952)    
15. Zemach Suite - Song    
16. Zemach Suite - Piece of Embittered Music    
17. Zemach Suite - Fuge a 3 (no. 1)    
18. Zemach Suite - Fuge a 3 (no. 2)    
19. Zemach Suite - Jubilation    
20. Zemach Suite - Complaint    
See all 21 tracks on this disc

Editorial Reviews
Amazon.com
This stimulating, variety-filled selection from over 30 years of Stefan Wolpe's piano music includes avant-garde pieces like the early Sonata No. 1, where melody takes a back seat to rhythm and dynamics, especially in the spiky, aggressive outer movements. Another side of Wolpe is heard in pieces like Tango, where popular elements are transformed into ghostly remnants of themselves. Here, the catchy tango tune almost imperceptibly turns into a modernist exploration of changing rhythms and dynamics. Again, in Waltz for Merle, a halting waltz tune evolves into a sophisticated parody of itself. Anti-war sentiments surface in Battle Piece, a cyclic set of seven finger-breaking movements that pack emotional power. Zemach Suite dates from Wolpe's pre-war sojourn in Palestine and assimilates Mideastern influences into his modernist European style. Fascinating and important music, it's performed by Holzman with power and verve. Modern music buffs won't want to miss it. --Dan Davis

ClassicsToday.com
10/10 "Highest Rating"

Album Description
Wolpe forged his musical thought at the piano, and most works in his wide-ranging catalogue include the piano. He composed an extensive repertoire for one, two, and three pianos, numerous songs, and pieces for instrumental ensembles of all sizes in which the piano is included. Wolpe's music for piano provides a chronicle of twentieth-century repertoire. His unique creative vision combines the stylistically inclusive modernism of Ferruccio Busoni, the revolutionary ideas of the masters of the Bauhaus, and the deconstructive experiments of the Dadas. But Wolpe did not look down on popular music as did many modernists. He could improvise in many popular styles, and he actively integrated into his music elements of the vernacular idioms of his successive homelands - Germany (1902-1933), Palestine (1934-1938), and the United States (1938-1972).

Hailed as a "master pianist" (Andrew Porter, The New Yorker), David Holzman has won acclaim both for his recitals and his recordings. Concentrating his virtuosic talents on the 20th Century’s keyboard masterworks, Holzman has premiered more than 150 works by various composers and has made first recordings of many of them. Mr. Holzman has performed at festivals throughout the world including Darmstadt, Leningrad Spring, the Vienna Schoenberg Festival and Wolpe Festivals in Toronto and Northwestern University.

Stefan Wolpe: Compositions for Piano (1920-1952)

Stefan Wolpe: Compositions for Piano (1920-1952), Music, Stefan Wolpe, David Holzman, 20th/21st Century Sonata/Sonatina for Keyboard, Adagio for Keyboard, Chamber Music & Recitals, Character/Single-Movement/Miscellaneous Work for Keyboard, Classical, Classical Composers, Classical Music, Keyboard, Keyboard Work with Descriptive or Unclassified Title, Suite/Partita for Keyboard, Tango for Keyboard, Waltz for Keyboard
Stefan Wolpe: Compositions for Piano (1920-1952)
Average customer rating: 4 out of 5 stars
  • good document of Wolpe's creativity but little else.
  • Superb performance of underrated Modernist masterpieces
 Stefan Wolpe: Compositions for Piano (1920-1952)
Wolpe , and Holzman
Manufacturer: Bridge
ProductGroup: Music
Binding: Audio CD

Chamber MusicChamber Music | Forms & Genres | Classical (c.1770-1830) | Historical Periods | Classical | Styles | Music
GeneralGeneral | Classical | Styles | Music
GeneralGeneral | Chamber Music | Classical | Styles | Music
ClassicalClassical | Indie Music | Stores | Music
ASIN: B000066F30
Release Date: 2002-05-28

Tracks:

  1. Sonata No. 1 Stehende Musik - Sehr Schnell
  2. Sonata No. 1 Stehende Musik - Fast langsam
  3. Sonata No. 1 Stehende Musik - Schnell (inc.)
  4. Adagio. Gesang, weil ich etwas Teures verlassen muss
  5. Tango (1927)
  6. The Good Spirit of a Right Cause (1942)
  7. Encouragements for Piano, First Piece, Battle Piece - Quasi Presto
  8. Encouragements for Piano, First Piece, Battle Piece - Molto sostenuto
  9. Encouragements for Piano, First Piece, Battle Piece - Con moto ma non troppo
  10. Encouragements for Piano, First Piece, Battle Piece - Vivo
  11. Encouragements for Piano, First Piece, Battle Piece - Moderato
  12. Encouragements for Piano, First Piece, Battle Piece - Con brio
  13. Encouragements for Piano, First Piece, Battle Piece - Allegro ma non troppo
  14. Waltz for Merle (1952)
  15. Zemach Suite - Song
  16. Zemach Suite - Piece of Embittered Music
  17. Zemach Suite - Fuge a 3 (no. 1)
  18. Zemach Suite - Fuge a 3 (no. 2)
  19. Zemach Suite - Jubilation
  20. Zemach Suite - Complaint
  21. Zemach Suite - Dance in Form of a Chaconne

Amazon.com

This stimulating, variety-filled selection from over 30 years of Stefan Wolpe's piano music includes avant-garde pieces like the early Sonata No. 1, where melody takes a back seat to rhythm and dynamics, especially in the spiky, aggressive outer movements. Another side of Wolpe is heard in pieces like Tango, where popular elements are transformed into ghostly remnants of themselves. Here, the catchy tango tune almost imperceptibly turns into a modernist exploration of changing rhythms and dynamics. Again, in Waltz for Merle, a halting waltz tune evolves into a sophisticated parody of itself. Anti-war sentiments surface in Battle Piece, a cyclic set of seven finger-breaking movements that pack emotional power. Zemach Suite dates from Wolpe's pre-war sojourn in Palestine and assimilates Mideastern influences into his modernist European style. Fascinating and important music, it's performed by Holzman with power and verve. Modern music buffs won't want to miss it. --Dan Davis

Album Description

Wolpe forged his musical thought at the piano, and most works in his wide-ranging catalogue include the piano. He composed an extensive repertoire for one, two, and three pianos, numerous songs, and pieces for instrumental ensembles of all sizes in which the piano is included. Wolpe's music for piano provides a chronicle of twentieth-century repertoire. His unique creative vision combines the stylistically inclusive modernism of Ferruccio Busoni, the revolutionary ideas of the masters of the Bauhaus, and the deconstructive experiments of the Dadas. But Wolpe did not look down on popular music as did many modernists. He could improvise in many popular styles, and he actively integrated into his music elements of the vernacular idioms of his successive homelands - Germany (1902-1933), Palestine (1934-1938), and the United States (1938-1972).

Hailed as a "master pianist" (Andrew Porter, The New Yorker), David Holzman has won acclaim both for his recitals and his recordings. Concentrating his virtuosic talents on the 20th Century's keyboard masterworks, Holzman has premiered more than 150 works by various composers and has made first recordings of many of them. Mr. Holzman has performed at festivals throughout the world including Darmstadt, Leningrad Spring, the Vienna Schoenberg Festival and Wolpe Festivals in Toronto and Northwestern University.

Customer Reviews:

3 out of 5 stars good document of Wolpe's creativity but little else........2005-03-22

Creatively Wolpe was a late bloomer he dabbled in the fashions and trends, the issues of the times,even exploring folk traditions,genres and character pieces. He was quite influential throughout his life as teacher first in Europe then Palestine where he taught the first generation of Israelis who still recall his influence; then moving to New York;Morton Feldman, Ralph Shapey, David Tudor to mention a few were his students.
His voice really did not come to true fruition until the latter years the Fifties when he discovered dodecaphonic music in earnest living as a recluse at Black Mountain College formulating this new language and the unique voice and development he gave it.He thought of the 12 Tones as materials, as particles to be exploded,imploded,projected outwards, contracted and expanded,breaking the intervallic content down to sets of three, four, five,then utilizing the power of rhythm of create this "space" for the intervals. The more frequent a tone was heard and within a particular register well the more pronounced and powerful it became.Faster pulses or rhythmic shapes were more ornamental since speed (non-Virilio-ian)and its shape is what determined the definition of intervals. So line against line was Wolpe's language. This strategy is in its formative state in the 'Passacaglia', where each succeeding variation has an intense focus on particular intervals coupled with gesture and texture attached to those intervals, later the piece foments, drawing power within itself, even utilizing octaves, (a No-No in 12 Tone language)still the resonant power was unequaled at that time. A shame that piece is not here. 'Form' for piano was an early primary work as the 'Passacaglia' and less so the 'Battle Piece', which remains too one-dimensional without good cause,direction of focus,it seems diffuse toccata like gestures that don't accrete a mount to anything. Music is suppose to suggest some form of synergy as it moves progresses and here it doesn't. The 'Battle Piece' when placed alongside Boulez's 'Second Sonata', or George Flynn's 'Wound' from the late Sixties is in a different set of dimensionality of gesture, of dealing with textures and densities,not to mention the strategy of dealing,nurturing and attenuating violence and brutal piano gestures.
Still Holzman is an excellent player for all this music has more documentary value stepping stones toward Wolpe's latter life living in New York. The early Sonata actually has a more brutal content than the Battle Piece, more violent and percussive George Antheil like the trend of the times along with the motoric ostinato of the Russian School of modernity Prokofiev, Mosolov.

5 out of 5 stars Superb performance of underrated Modernist masterpieces.......2003-04-02

David Holzman studied with Wolpe and has been performing his music for some time now; Battle Piece (which Holzman previously recorded on LP) is arguably Wolpe's most important piano work: John Cage compared it to Boulez' Second Piano Sonata for pianistic brilliance and expressionistic force. The album includes a number of other works (including the partly tonal Zemach Suite, the politically engaged Encouragements, and two parodistic but not slight works, Tango and Waltz). Wolpe was a major figure both in pre-Hitler Berlin and in the New York of Abstract Expressionism, and his work has the rhythmic energy of Stravinsky and the subjective intensity of Schoenberg. These are pieces one must listen to repeatedly in order to appreciate them fully, and there is nothing academic about them. David Tudor, known for his work with Cage, Stockhausen and others, was an important collaborator on "Battle Piece" and its first interpreter. An important release and worth the while of anyone interested in 20th century classics.

Music Review:

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  10. Twentieth Century Contrasts

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