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| Transcription by Stephen Hough. JBY dedicates this performance of this familiar and poignant work to the memory of all those who heroically lost their lives, suffered a loss and contributed to the relief effort of September 11th. To read JBY's article, "Aftermath", please visit http://www.towerofbabel.com/features/wtc/aftermath/ |
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Credits: Engineer: Kazuto Maekama. Recorded Jordan Hall, Boston, March 2002 |
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| Michel Block has long been well known among connoisseurs as one of the great pianists of the 20th century. Few of his fans are aware that he is also a composer. "Dis Moi" is the first of six brief pieces that comprise his charming suite "Un Beau Jour." Evocative at once of Poulenc and Albeniz, Block's music blossoms gently. There is a nostalgic air about it, but never maudlin or indulgent. Instead, like the rest of "Un Beau Jour, this work speaks from the heart, and with incomparable poignance and sincerity. From "Prisms" Americus Records. John Bell Young, pianist |
CD: PRISMS
Label: AMERICUS www.americuscd.com
Credits: Executive producer: John DesMarteau. Producers: John Bell Young, Joseph Stephens. Engineer: Stephen Epstein. Reproduced here on MP3. com with the permission of the composer and Americus Records |
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| The third piece of Michel Block's suite, "Un Beau Jour," this charmer moves along fluidly in rising sixteenths, varying the thread of the primary motivic material that runs throughout the work. Lyrical and effusive, it forms a kind of gentle perpetuum mobile. From "Prisms". Americus Records. John Bell Young, pianist |
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| The fourth entry in Michel Block's suite "Un Beau Jour", this wistful piece ("The rendez-vous we missed") sports something of the chanteuse about it, as if it was indigenous to the smoky throats of Dietrich or Piaf. Its melancholy Spanish ambiance speaks sadly and with great eloquence. From "Prisms". Americus Records. John Bell Young, pianist |
CD: PRISMS
Label: AMERICUS #19991013
Credits: Producers: John DesMarteau, John Bell Young and Joseph Stephens |
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| Te souviens tu ("You remember, don't you?") is the charming, even childlike second entry in Michel Block's suite Un Beau Jour. Its pliant, innocent melody is embroidered by the widely spaced intervals played by the left hand, which lead it to a poignant conclusion. From "Prisms". Americus Records. John Bell Young, pianist |
CD: PRISMS
Label: AMERICUS #10001013
Credits: Producers: John DesMarteau, John Bell Young and Joseph Stephens |
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| Viens...(Come here) is tne next to last entry in Michel Block's wonderful "Un Beau Jour." Blithe and lyrical, it's a work of great charm that is at once immediate and engaging. From "Prisms" Americus Records. John Bell Young, pianist |
CD: PRISMS
Label: AMERICUS (www.americuscd.com)
Credits: Executive Producer: John DesMarteau; Producers: John Bell Young and Joseph Stephens Reproduced here on MP3.com with the permission of the composer and Americus Records |
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| This tender, poignant work concludes Michel Block's Un Beau Jour. From "Prisms" Americus Records. John Bell Young, pianist |
CD: PRISMS
Label: AMERICUS (americuscd.com)
Credits: Executive producer: John DesMarteau. Producers: John Bell Young and Joseph Stephens Reproduced here on MP3. com with the permission of the composer and Americus Records |
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| "Here on this beach, 100 years ago..." This is a brief sample of the much anticipated CD featuring the distinguished actor MICHAEL YORK (www.michaelyork.net) in collaboration with JOHN BELL YOUNG, in Richard Strauss's rarely performed melodrama "Enoch Arden", set to the poem of Alfred Lord Tennyson. Due out in October 2002 on the Americus Records label www.americuscd.com
IMCA, INC. IS NOW TAKING ORDERS FOR A VERY LIMITED NUMBER OF AUTOGRAPHED COPIES OF THIS UNIQUE CD. To order, please visit the IMCA Resource Center at http://www.johnbellyoung.org
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CD: Richard Strauss: Enoch Arden with Michael York, narrator and John Bell Young, pianist
Label: Americus Records (www.americuscd.com)
Credits: Producers: John Bell Young, Kryztov Lindquist, and John DesMarteau |
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| "And when the dead man come to life..." This is a brief preview of a much anticipated new CD with the distinguished actor MICHAEL YORK, in collaboration with JOHN BELL YOUNG in Richard Strauss's rarely performed melodrama, Enoch Arden, set to the poem of Alfred Lord Tennyson. Due out in October 2002 on the Americus Records label. www.americuscd.com
IMCA, INC. IS NOW TAKING ORDERS FOR A VERY LIMITED NUMBER OF AUTOGRAPHED COPIES OF THIS UNIQUE CD. To order, please visit the IMCA Resource Center at http://www.johnbellyoung.org |
CD: Richard Strauss: Enoch Arden. Michael York, narrator, John Bell Young, pianist
Label: Ameicus Records (www.americuscd.com)
Credits: Producers: John Bell Young, Kryztov Linduiqst, and John DesMarteau |
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| Scriabin composed this charming, efflorescent miniature while in self-imposed exile in Switzerland. A sketch of sorts for the Fifth Sonata, its polyrhythms hover languidly, setting 4 beats per bar in the right hand against 6 in the left. In its few brief minutes, Scriabin captures perfectly a fragrant and delicate mood, like a rose in bloom. |
MP3.com CD: SCRIABIN LIVE! -  buy it!
CD: PRISMS
Label: AMERICUS (www.americuscd.com)
Credits: Executive producer: John DesMarteau. Producers: John Bell Young and Joseph Stephens |
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| Dark and brooding, this troubled prelude is an elegy whose unsettling, turbulent undercurrents and shifting hemiolas make it a most compelling experience. |
MP3.com CD: SCRIABIN LIVE! - buy it!
CD: SCRIABIN LIVE! John Bell Young
Label: Engima
Credits: Recorded in concert, New York. 1991. Producers: John Bell Young and Alexandre Vovan |
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| This extraordinary work of Scriabin's youth may deceive the listener unfamilar with it. In spite of its opulence and rich polyphony, and its dreamy langour juxtaposed with virulent drama, it is in fact played by the left hand alone. Its difficulty hardly proceeds from that, but from its poetic nuances and innumerable shades of affect. For those of you discovering the music of Scriabin for the first time, this is a good place to start. If this work hooks you, then you may want to move on to his other great works featured on this site, such as the fragrant FRAGILITE; the seductive POEME OP 32:1; the utterly machismo POEME Op.32:2 and ETUDE Op. 8:12; and especially the pychedelic, even sexual FIFTH SONATA which elaborates the alluring sensuality of the Nocturne fot the Left Hand. Indeed, the SONATA No. 5 magnifyies that sensuality a thousand fold in a kind of musical orgy and dizzying dance. And all this en route to the even grander esoteric mysteries and magic of the SEVENTH SONATA. |
MP3.com CD: SCRIABIN LIVE! - buy it!
CD: "JOUISSANCE!"; and "SCRIABIN LIVE!" John Bell Young"
Label: ENIGMA
Credits: Thomas R. Jones and John Bell Young, producers |
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| One of Scriabin's most famous works, this fragile but melancholy piece lives up to its name. It is at once direct and ambiguous in that each of its sinuous polyphonic strands implies more than a single voice. Languid and luxurious, it represents Scriabin at his most opulent. |
CD: SCRIABIN LIVE! John Bell Young
Label: AMERICUS
Credits: Producer: John DesMarteau, John Bell Young |
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| For many years Scriabin, like many like-minded artists of Russia's Silver Age, was a devotee of Nietzschean idealism. Seeing himself as a "translator", Scriabin embraced Nietzsche's re-evaluation of values, signaling as it did the dawning of a promising new era: the 20th century. Nietzsche's ideas brought to bear the liberation and radical assertion of the ego as the pricipal capital of artistic expression. Scriabin sought to codify that capital in compositional categories, thus anticipating the aesthetic philosophy he later shared with the so-called Mystical Anarchists. The Poeme Op. 32:2(Con eleganza, con fiducia)is nothing if not an expression of the egoistic "Ya yesm'" - the "I am." It gives voice to an aesthetic disposition that became, for a while, his calling card. With its audacious, driving triplets and virulent dotted rhythms, this Poeme is an expression of struggle and victory, things very much in the pre-Revolutionary air of Nicholavean Russia. |
MP3.com CD: SCRIABIN LIVE! - buy it!
CD: SCRIABIN LIVE! John Bell Young
Label: Enigma
Credits: Recorded in St. Petersburg, Russia 1994 |
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| This florid, evanescent waltz is the swann song of Scriabin's youth, a farewell of sorts to the fin-de-seicle that he would leave behind in favor of a new and audacious harmonic vocabulary. But that hardly means that this exquisite work is anything less than imaginative. It is certainly opulent. From the opening bars, it indicts the bourgeois character of the traditional waltz rhythm; in juxtaposing 4 beats in the right hand against the traditional 3 of a waltz in the left, Scriabin evokes the intoxication of the dancers, swirling arm in arm around some gilded rococo ballroom in a halo of smoke and giddy from the champagne. It is an abundantly nuanced, kaleidoscopic work of immeasurable grandeur. This performance was originally to have been included on my CD for the Americus label, "Prisms". This placement on MP3. com marks its first and only release. |
MP3.com CD: SCRIABIN LIVE! - buy it!
Credits: Producers: John DesMarteau, John Bell Young. Engineer: Steve Epstein |
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| The crown jewel of his middle period musical diadem, the Fifth Sonata is a gigantic waltz whose angular syncopes Scriabin manipulates in the context of expanding and contracting meters. Tumbling forward from primordial chaos, it is a tissue of cross-rhythms and suspended sonorities that expand and contract as they unfold exponentially. Rhythmic energy accumulates and finally breaks loose in the coda, culminating in an apocalyptic explosion before reverting, in the final measures, to the ruminative rumblings of its opening. An informed interpretation must strive to duplicate the work's implicit eroticism in an act of symbolic consummation with the listener. To this end Scriabin thrusts forward whole sequences of truncated climaxes, driving them on in cumulative waves of rhythmic energy that breathlessly simulate orgasm. The dialectic between performer and composition thus engaged, the sonata's prevailing metaphor -- sexual union -- is successfully conveyed. |
CD: PRISMS
Label: AMERICUS (wwww.americuscd.com)
Credits: Executive Producer: John DesMarteau; Producers: John Bell Young and Joseph Stephens |
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| Scriabinophiles may take interest in this live performance, from 1994, that I gave of the Scriabin 5th. For a full description of the work, see the MP3.com entry here from my recording PRISMS. |
MP3.com CD: SCRIABIN LIVE! - buy it!
CD: SCRIABIN LIVE! John Bell Young
Label: Enigma
Credits: Recorded in concert, December 4, 1994 at the Dom Kompozitorov, St. Petersburg, Russia |
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| Dubbed the "White Mass," this sonata is a pivotal work in Scriabin's oevre. Here he effectively begins his long musical journey towards his final works, the Prefatory Action and the Mysterium, the extravagant ceremonial music that he never completed, but envisioned performing, with a cast of thousands, atop the Himalayas. Like all his late music, the Seventh Sonata forms part of the Mysterium's compositional, aesthetic and ideological tapestry. It is a profoundly spiritual work that uses the piano as a medium in its evocation of Russian bells, droning liturgical cadences and hovering, irresolute harmonies. These he manipulates seductively in the interest of stasis and ego transcendence. With its cascades of double notes and kaleidoscopic polyphony, voices tumble and bleed one into another as they move inexorably towards an apocalyptic conclusion: a 25 note cluster in the penultimate phrase. The massive bell sonorites that precede it are no accident, but a symbolic gesture that recalls, perhaps deliberately,the Coronation Music in Musorgsky's Boris Godunov. |
MP3.com CD: SCRIABIN LIVE! - buy it!
CD: SCRIABIN LIVE! John Bell Young
Label: Enigma
Credits: Recorded in concert, New York City 1991 |
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| Dubbed the "White Mass," this sonata is a pivotal work in Scriabin's oevre. Here he effectively begins his long musical journey towards his final works, the Prefatory Action and the Mysterium, the extravagant ceremonial music that he never completed, but envisioned performing, with a cast of thousands, atop the Himalayas. Like all his late music, the Seventh Sonata forms part of the Mysterium's compositional, aesthetic and ideological tapestry. It is a profoundly spiritual work that uses the piano as a medium in its evocation of Russian bells, droning liturgical cadences and hovering, irresolute harmonies. These he manipulates seductively in the interest of stasis and ego transcendence. With its cascades of double notes and kaleidoscopic polyphony, voices tumble and bleed one into another as they move inexorably towards an apocalyptic conclusion: a 25 note cluster in the penultimate phrase. The massive bell sonorites that precede it are no accident, but a symbolic gesture that recalls, perhaps deliberately, the Coronation scene music in Musorgsky's Boris Godunov. |
CD: JOHN BELL YOUNG plays SCRIABIN IN CONCERT
Label: Enigma
Credits: Recorded at Riga Philharmonic Hall, Latvia. January 1992. |
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| Brief and elegant, there is a melancholy subtext at work behind the poignant notes of this work, one of Scriabin's most beloved. |
MP3.com CD: SCRIABIN LIVE! - buy it!
CD: SCRIABIN LIVE! John Bell Young
Label: Enigma
Credits: Recorded in concert, Moscow 1992.Producers: John Bell Young and Alexandre Vovan |
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| Scriabin wrote dozens of mazurkas, and this, the first of two brief ones in this opus, is all charm. Though he models his after Chopin's, the similarities are few and far between. Unlike his Polish predecessor, Scriabin's inspiration does not come from the indigenous music of Poland, or even Russia, and his way with these works is, on the whole, considerably more joyfu. Instead, he attempts to paint a musical portariat of a passing thought, a brief mood or inspiration, all within the context of his exceptionally rich harmonic pallete |
MP3.com CD: SCRIABIN LIVE! - buy it!
Credits: Producers: John DesMarteau, John Bell Young. Engineer: Stephen Epstein |
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| In this all too brief, lyrical and somewhat elegiac mazurka, Scriabin gives voice to one of his favorite, whimsical moods -- that of flight. |
MP3.com CD: SCRIABIN LIVE! - buy it!
Credits: Producers: John B\DesMarteau, John Bell Young. Engineer: Steven Epstein |
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| What an exotic little piece this is, its Byzantine contours angling snake-like through its rich textures. Indeed, this work represents one of Scriabin's rare excursions into the musical orientalism made popular in his early years by the kuchkists, otherwise known as the Russian Five. |
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Credits: JOHN BELL YOUNG, pianist. Recorded in concert, Riga Philharmonic Hall, Riga, Latvia. January 1992 |
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| This famous etude is often played as if it had no rhyhtmic spine. Indeed, the kind of spastic, syrupy plasticity that pianists so frequently see fit to impose upon it has not only created a huge misunderstanding about the work, but amounts to interpretive rape. On the contrary, its turbulent character and oceanic rhythm demand the support of the most rigorous command and steady pulse within the context of both its micro (motivic) and its macro (formal) organization. That pulse proceeds in large, consistent waves of two, not four beats per bar, as Scriabin himself clearly indicates in the score. The crucial dotted motive that opens the work and informs its development is one that assumes extraordinary symbolic significance in all of Scriabin's music. This early incarnation of the "zov" motive ("the call" of Divine Wisdom -- the Pistas Sofia -- to man from the Pleroma; the divine spark of Prometheus) is an emblem of the will. That idea, inspired by Nietzsche's philosophy and its emphasis on the Overman and the re-evaluation of values, exerted a profound influence on the young Scriabin, who was still a student at the Moscow Conservatory when he composed his Op. 8 etudes. Those pianists who throw all care to the wind, ignoring the work's affective contours which lend character and shape to its motivic systoles, do the work a great injustice. Such indulgence is normally rationalized by some vague, ersatz notion of "color" or "flexibility". But, as we all know, there is no real freedom without discipline. Where music is really made -- between the notes, not on them -- is where a composition reveals its meaning. For example, unlike the so-called Scottish snap, a customary compositional device used to great effect in the works of the western classical canon, the dotted motive in Scriabin works rather differently. In Scriabin's music, unlike Beethoven's, for instance, it is the shorter of the two values in the short-long relation (in this case, a sixteenth followed by a dotted eighth) that must be given special emphasis. The D sharp minor etude is nothing if not an expression of the will. It is an emblem of defiance and determination at a time when the revolutionary fervor of an entire society had already saturated the aspirations of its youth, including Scriabin. Only a few years later, in 1905 and again in 1917, those ideas would lead to massive social upheaval. Young pianists, learning this etude for the first time, would be well advised to avoid parroting the superficial readings of those who toss it off as if it were mere "piano music." They should instead first examine the text with great care in an effort to fathom the internecine relations that will eventually free its performance. This marvelous etude, by the way, is one of two versions Scriabin composed. He had a hard time making up his mind which to submit for publication, but his publisher and mycenas, Mitrofan Belaieff, wisely advised him to use what we now know as this famous version. It is the darker and less optimistc of the two, but also the more succinct and powerful. |
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| Perhaps the most recognized of all Wagner's arias, the ever passionate Liebestod (Love Death) is the stirring conclusion of his opera Tristan and Isolde. Its highly charged musical atmosphere influenced an entire generation of composers. Liebestod codifies, in its innumerable thrusts and orgasmic climaxes (but also in compostional categories!) the act of sexual consummation. Isolde sings here of a love so great that even the death of her lover, whom she poisoned, can not overcome it. Liszt's is more of a literal tanscription rather than an improvisatory paraphrase, though his reconstruction of the original is hardly unimaginative, and no less inspiring. Even within this purely pianistic context, he proves himself once again the master of the genre, creating a most compelling translation of one of the greatest works of the western classical canon. Those among you who find the Liebestod intoxicating will be no less overwhlemed by other works of Liszt, included here, which are equally riveting for their energy, power and radiance. Listen, for example, to Liszt's magnificent B MINOR BALLADE; to his musically picaresque LES JEUX D'EAUX A LA VILLA D'ESTE; to the fabulous diabolerie of his famous MEPHISTO WALTZ; or even to his magnum opus, the larger-than-life SONATA IN B MINOR. Help yourself to the huge spirit and great heart that is indeed the wonderful, and ultimately spiritual music of Franz Liszt. |
Label: Enigma
Credits: Recorded in concert, New York. March 1985. |
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| This is another of my transcriptions of an orchestral work of Mahler. "Nun seh ich wohl, warum so dunkle flammen" (Now I can see why such dark flames....)is the second entry in Mahler's ode to sadness, the Kindertotenlieder -- Songs on the Death of Children, which he wrote shortly before his own young daughter died suddenly. He later blamed himself for this mysterious coincidence, as if the energy he invested in this work were somehow responsible. The Kindertotenlieder comprises some 5 musical colloquies for voice and orchestra. My recommendation for those who wish to hear a sublime performance of the original: contralto Kathleen Ferrier with conductor Bruno Walter. |
CD: JOHN BELL YOUNG IN CONCERT
Label: Enigma
Credits: Recorded in concert Moscow 1990. ATTENTION PIANISTS! SCORE AVAILABLE FOR PURCHASE. EMAIL JBY FOR DETAILS. |
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| My transcription of Mahler's famous Adagietto from his Fifth Symphony, composed as a love letter of sorts to his fiance Alma in 1900, is the fruit of my residency at the Chateau de la Fontaine in the French countryside of the Vallee du Loire in 1989. What distinguishes this piano reduction from previous attempts is my refusal to compromise Mahler's original intentions. It is something on the order of a literal translation, rather than a paraphrase. Every effort has been made to preserve Mahler's registration and contrapuntal textures. Re-arrangement of voicing or the adding of notes or chords, in order to conform to the conventions of romantic era piano music have been avoided, with few exceptions. I have also preserved the score's dynamic markings which govern a single pitch or unisons where, in the original, the strings swell or diminsh. Obviously, the piano itself is physically incapable of such gradations, because the rapid decay of pitch is a natural property of the instrument, and cannot be manipulated at will to the extent it can be with other instruments. Thus, for the pianist, these dynamics must be regarded as informing the work's psychological content. He must imagine the swells and decays, which impoart subtle effects on the Adagietto's rhythmic vitality. Registrational textures are thus experienced as a kind of gradual unfolding, a perpetually evolving distension as each harmony and melodic pitch gives birth to its neighbor. Articulation also benefits in this pianistic format, because the player, so informed, is more aware of and enhances the onset and release of individual pitches and chords -- their entrances and exits, if you will. |
Label: ENIGMA
Credits: Recorded in concert, Florida 1992. ATTENTION PIANISTS: SCORE AVAILABLE FOR PURCHASE. EMAIL JBY FOR DETAILS |
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| Transcribed for piano solo by John Bell Young. From "Prisms", Americus Records. "The most riveting performance of the disc is Young's performance of his Mahler transcription. To keep this ravishingly beautiful work cooking with the same intensity and drive as the original orchestration is a tribute to a most insightful pianist... This CD has truly lived up to its name, offering a recital filled with colorful works performed with great keyboard savvy." - Jim Edwards, Clavier Magazine |
CD: PRISMS
Label: AMERICUS #19991013
Credits: Producers: John DesMarteau, John Bell Young and Joseph Stephens |
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| The eloquent Barcarolle, one of Chopin's last works, evokes a Venetian gondolier's song. It is also among his most operatically inspired works, opening as it does, after a brief introduction, with a gentle Italianate duet between the soprano and alto voices. Though he devoted his gifts almost exclusively to the piano, Chopin owed his development as a composer primarily to those best known for their vocal and operatic works: Mozart, Donizetti, Rossini, and especially Bellini. It is the latter whose style the Barcarolle most closely resembles. Chopin virtually reinvented piano music as he duplicated, in instrumental terms, the properties of bel canto singing. His piano music, of which the Barcarolle is an ideal example, approximates the melismatic brocades of a coloratura soprano as readily as it does the silky legato of a lyric tenor. Though Chopin's music "sings" at the piano, it also speaks, givng voice to a world of discrete inflections and hushed intimacies. The Barcarolle's grandeur culminates in a magnificent coda which combines in stretto its various themes and motivic material. |
CD: "JOUISSANCE!"; and "CHOPIN LIVE! John Bell Young"
Label: Enigma
Credits: Recorded in concert. Rice Auditorium, Bradenton, Florida. November, 1996. |
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| The extended form of Chopin's Polonaise-Fantasie does nothing to compromise the abundant lyricism that made of Chopin a household name. Like two of his other late works, the Sonata in B minor and the Barcarolle, the Polonaise-Fantasie's essentially Slavic character yields to the rarefied French sensibility that informs it. Its imaginative power and sweep give compelling voice to its narrative structure. The rhapsodic envelope and elaborate, intertwining textures that give it its shape anticipate Scriabin's contrapuntal exoticism more than 50 years later. The Polonaise-Fantasie is intense and radiant. For those who want to immerse themselves in more of Chopin's opulent music, have a listen to his other works on this site, such as the blistering, larger-than-life SCHERZO IN B MINOR; the enchanting, aometimes heartbreaking and glittering WALTZES; The whirlwind finale (4th movement) of the SOMATA IN B MINOR; and to the elegant and songful BARCAROLLE, inspired by romance, Venice and opera! |
Label: Enigma
Credits: Recorded 1993 John Bell Young, producer |
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| Chopin wrote four scherzos. The B minor, though the first, is perhaps the darkest of them. It is a narrative that harveststs its compositional surroundings as if these were the stuff of literary tragedy. The middle section is a Polish Christmas carol in the form of a lullaby. The contrast between it and the outer sections creates a kind of musical paradox where the fluctuations of light and dark illuminate the work's otherwise subfusc, turbulent psychological underpinnings. |
CD: CHOPIN LIVE! John Bell Young
Label: Enigma
Credits: Recorded in Dailien, China. March 1979. Producers: John Bell Young adn Thomas R.Jones |
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| Chopin's nocturnes have long occupied a unique place in his collected oeuvre, not only for thier extraordinarily succinct construction, but for their persuasive translation, into the realm of piano music, of the bel canto style of singing cultivated by Rossini, Donizetti, and especially Bellini. This elegant work, resplendent with florid fiorituras, a discreet but ardent soprano line, and a particularly rich polyphony, is interrupted by a passionate middle section. It is, in a word, a kind of pianistic opera in miniature, a cavatina and chorus all rolled into one and played out in the space of only a few minutes. |
CD: CHOPIN LIVE! John Bell Young
Label: Enigma
Credits: Recorded 1994. John Bell Young, producer |
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| This elegiac waltz offers a plaintive contrast to its glittering sister work, the Grande Valse Brilliante op.34 no.1. As its lyrical, but melancholy tenor angles sadly upwards, and then in the opposite direction as the measure of its unsettled character, the work alternates between a mood of hope and utter despair. |
CD: CHOPIN LIVE! John Bell Young
Label: Enigma
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| (RECITAL IN CHINA, 1979) Sonata in B minor, Op. 58, First Movement. ALLEGRO MAESTOSO. The efflorescent B minor sonata is one of Chopin's most opulent creations, and a product of his final years. The first movement is a noble Allegro Maestoso that is formally conservative, sticking as it does religiously to conventional sonata form. Nevertheless, there is a rhapsodic quality to this yearning romance with its melancholy themes, its elegant spaciousness, its oceanic rhythms and above all, its incomparable eloquence. |
CD: CHOPIN LIVE 2!
Label: ENIGMA
Credits: Recorded in Concert, China, 1978 |
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| (FROM THE RECITAL IN CHINA, 1979) Sonata in B minor, Op. 58. Second Movement. SCHERZO.ALLEGRO MOLTO. This mercurial scherzo is the second movement of Chopin's eloquent, but massive B minor sonata. Its elegantly brocaded outer sections swirl around an ardent and lyrical trio in the middle. |
CD: JOHN BELL YOUNG plays CHOPIN
Label: Enigma
Credits: Recorded Dailien, China. March 1979. Producers: John Bell Young and Alexandre Vovan |
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| (FROM RECITAL IN CHINA, 1979.) Sonata in B minor, Op. 58, Fourth Movement: PRESTO MA NON TANTO. This spirited tarantelle de bravoure is among Chopin's most intense creations, driving forward with relentless abandon, but never without compositional purpose. |
CD: CHOPIN LIVE
Label: ENIGMA
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| I was a kid when I gave this, my first ever performance of Chopin's C major etude. That was in the early 1970s.. The pleasures of youthful indulgence -- what we sometimes referred to as characteristic of "a piano jock" -- exerted a rather undue influence. What a whiirlwind this performance is, and while superficailly exciting, it denies the work its natural splendors. Nowadays I have rather different ideas about it, to put it mildly. This music is above all about breadth and resonance. There should be an organ-like ambiance about it which, in my youthful zeal to show off my athletic prowess, was subsumed by speed and flair. Alas, the stately, even processional grandeur it demands was thus lost, qualities I had not yet surveyed. Well, at least the folly was fun. What better place to put this unique, speed-demon performance to use than on MP3.com |
CD: JOHN BELL YOUNG plays CHOPIN
Label: Enigma
Credits: Recorded in concert Toronto, 1971. Producer: John Bell Young |
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| This opulent waltz offers a window on to the Empire Age. With its opulent swirls of sound, irresistible melodies and compelling rhythms, it is a work that might have been, and probably was danced to. But the work goes deeper than that; behind its glittering veneer is a certain melancholy that evokes a famous Slavicism: laughter through tears. |
CD: CHOPIN LIVE! John Bell Young
Label: ENIGMA
Credits: Recorded in concert 1994. John Bell Young, producer |
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| The mazurka and its variants the kujawiak and oberek were most certainly Chopin's most favored musical form. The native Polish dances them gave way to some of Chopin's most exotic harmonies and imaginative inventions. Each mazurka is a world unto itself, a tone poem whose eloquence and unique rhythms speak volumes within the space of a few minutes. This robust and earthy work is among the earliest he wrote, and in most editions introduces the set of 57 mazurkas |
Label: Enigma
Credits: Recroded in concert, New York 1985. Producer: John Bell Young |
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| This bittersweet mazurka, at once charming and uneasy, lends itself to a variety of interpretations; indeed, performances of this marvelous work differ widely for their choice of tempo, spirit and specific articulation, though Chopin himself, as always, provides the player with plenty of information in these areas. Still, whatever one does, its underlying melancholy must be conveyed, though its rhythmic character -- its life, so to speak -- ought not be compromised by any stodginess. It has to move right along. |
CD: CHOPIN LIVE!
Label: ENIGMA
Credits: Recorded in concert, Washington,D.C., March 1999 Producer: John Bell Young |
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| This majestic composition inaugurates one of Liszt's most personal, spiritual works, the Harmonies Religieuses et Poetiques. Orchestral in concept, Invocation is a tone poem for the piano whose solemn procession of chords underlie a simple, melodic progression that burgeons forth in a kind of perpetual ascension, albeit in sequential four bar phrases that recoil periodically before ascending again. It is a highly symbolic work, one that does justice to the noble poem (of the same name) by Lamartine that inspired it. Its character is heroic, yes, but also evocative of Liszt's yearning for something unattainable: a vision of eternal glory that can only be imagined. Liszt's Catholicism, which would mnny years later find expression in his most disturbing and abstract music, fulfills itself here prophetically. Indeed, his determination to take the orders in the service of the church, as a priest, not only echoes his lifelong sentiments, but forecasts the essentially ecclesiastic tone that so much of his music would later assume. Invocation is not so much representative of the operatic Liszt as the sacred one. |
CD: LISZT LIVE! John Bell Young
Label: Enigma
Credits: Recorded in concert, New York City, 9/89. |
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| Recorded in Dailien, China |
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| If opera was the 19th century equivalent of contemporary cinema, then the concert paraphrase was the television mini-series. With the popularity of the touring virtuoso/composer, exemplified by Liszt and Paganini, opera became available to the general public thanks to the brilliant transcriptions of celebrated musicans. Anyone with access to a piano could enjoy the melodies that enthralled Europe. In the concert hall audiences looked forward to paraphrases performed with abandon and bravura by skilled soloists. For the music lover, the parapharase provided what recordings do today, with one major difference: the intimacy of actually making music at home with one's friends and family. The paraphrase differs from the literal transcription, in that the composer embeliishes themes from the original work with his own variations or improvisations. When expertly performed, the results can be spectacular, a majestic, "technicolor" feast for the ears. Liszt modelled this paraphrase on the famous vocal quartet in the final act of Verdi's Rigoletto, a story of intrigue, power, lust, love, rejection, deformity, mistaken identity and of course, murder. After a brilliant introduction, the Duke of Mantua's aria "Bella figlia dell'amore" (Love's beautiful daughter) is heard as he begins his seduction of Maddalena. The work draws to its glamorous conclusion in a flurry of chromatic scales, 3-hand effects and an awesome swoop of parallel octaves. |
Label: ENIGMA
Credits: Recorded in concert. Florida, 1994 |
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| This performance of the magnificent B minor Ballade was recorded in concert in St. Petersburg, Russia in 1994. |
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Credits: Recorded in concert 1994, Composers Union, St Peterburg, Russia |
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| Recorded in concert in New York in 1984 as a benefit for the Harlem School of the Arts. |
Label: Enigma
Credits: Recorded in concert. New York 1984 |
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| (1989 recital) This extraordinary composition belongs to a trilogy of works inspired by the beauties of the famous villa near Tivoli which Liszt frequented. A musical painting of sorts, it draws in sound the celebrated fountains of the Villa d'este. This is a pivitol work not only in Liszt's oeuvre, but in the history of music; it anticipates Debussy and Ravel. Indeed, the introductory left hand motive of Debussy's "L'isle Joyeuse" may well have been inspired by a nearly identical figure in this magical, richly impassioned and ultimately spiritual work. |
Label: Enigma
Credits: Recorded in concert, Yamaha Center, New York, 1989 |
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| This is the first of Liszt's four Mephisto Waltzes. It is also the most well known and frequently performed. Orchestral in scope, its extreme technical demands are meaningless in the absence of an interpretation that fails to convey its narrative structure and tell its story. From the opening bars, where Liszt evokes the devil himself (Paganini, perhaps!) tuning up his fiddle, to the elegiac languor of its middle section and the elfin skeleton's dance that interrupts it, the Mephisto Waltz is nothing if not poetry. Even in its last few minutes, where wave upon wave of virulent arpeggios, lightning fast leaps and imperial octaves draw the work to its rousing conclusion, bluster must never prevail at the expense of its radiant rhetoric. |
CD: LISZT LIVE! John Bell Young
Label: Enigma
Credits: Recorded 1979. |
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| L'Isle Joyeuse (The Isle of Joy), Debussy's ode to hedonism, was inpired by a painting of Watteau entitled, "L'embarquement pour Cythere" (The Pilgrimage to Cythere). The Greek island of Cythere is, as legend has it, the birthplace of Aphrodite, the goddess of love. Evidently this paradise of forbidden pleasures had special meaning for Debussy when he composed this work; he had just returned from his honeymoon on the very properly British Isle of Jersey with his second wife, Emma Bardac. L'Isle Joyeuse may share more in common aesthetically with the bolder, more radical paintings of Debussy's contemporary, Paul Gaugin, than it does with those of Watteau. What's more, its symbolic character and individual compositional language echoes the musical experiments of Scriabin, reminding us that as a young man, Debussy himself lived and studied in Russia. Although composed for the piano, the work is orchestral in concept. The trills and spiraling rhythmic configurations of the opening evoke a solitary, offstage flute. A few bars later a new rhythmic motive, introduced by the left hand, suggests a drum or tam-tam. L'Isle Joyeuse lives up to its moniker and culminates in an ecstatic ritual dance, a boisterous, even barbaric extravaganza. In the headlong downward rush of its final measures, the work collapses in a fever of excitement and passion. |
Label: Enigma
Credits: Recorded in concert, September 1989 |
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| Cloches a travers les feuilles (Bells heard through the leaves) is the first entry in the second book of Debussy's evocative Images for piano. Inspired and fascinated by the exotic, yet dulcet strains of Indonesian gamelan music, which he heard for the first time in 1889 at Paris Universal Exposition, Debussy attempts here to codify the unique sonorities of that eastern instrumentarium. Indeed, in the context of a harmonic structure that avails itself of the whole tone scale -- perhaps the closest thing to the unique slentro scale of the gamelan -- Debussy explodes functional harmony and conventional expectations. Indeed, the music gives way to a sense of timelessness and irresolution. One of his first biographers, Louis Laloy, may also have influenced Debussy's picaresque sensitivity for acoustic metaphors when he wrote the composer to describe the extraordinarily haunting sonorities of church bells tolling in a country village on All Saints Day. Debussy uses 3 staves throughout the work in order to render the movement of its five voices as visually transparent as possible for the interpreter, who in turn must translate that transparency into sound. The player must also individuates their colors, which Debussy takes great paons to notate with precision. Listen l, for example, to the manner in which , by means of a single tenuto mark, Debussy deiscreetly inflects the very first pitch, a C flat, which vanishes sudeenly as subsidiary bells emerge beneath it. And then, the ringing of a distant, more prominent bell on A natural brings a magical repose to the third measure, where the remaining voices are introduced as well. And so, for whom the bell tolls -- s you, th listener... |
Label: Enigma
Credits: Recorded in concert: Bradenton, Florida 1996. Producer: John Bell Young |
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| The full title of this evanescent work is "Et la lune descend sur le temple qui fut" (And the Moon Sets Over the Temple That Was). The middle entry of Book 2 of the Images for piano, this work, like its sister in the same suite, "Cloches a travers les feuilles", was inspired largely by Debussy's burgeoning fascination in Indonesioan gamelan music, which he discovered at the Paris Universal Exposition in 1889. Debussy, whose aesthetics embraced the philosophical ideas of symbolism to a far greater degree than those of the impressionist movement in painting (a movement that in any case flourished many years earlier), Debussy's harmonic language, availing itself of whole tone, octatonic and semi-tone scales, has much in common with Scriabin's lush vocabulary. But the similarities end there. Debussy, unlike Scriabin, pursued a wholly different aesthetic agenda. Nor did he aspire, as a measure of expressing it, to Scriabin's particular brand of Hindu and Russian Orthodox mysticism. Where Scriabin codified the mystical dimensions of pagentry and ritual in search of apocalypse, Debussy was more interested in the power of suggestion, of intimacy over magniloquence, and indeed, of what Debussy himself referred to, as did other symbolist painters and poets of his day, the "inexpressible in art". What Mallarme did for poetry, and even Whistler for painting -- interpreting reality as an essence rather than as material exclusive to individual perception -- Debussy captured in music. Indeed, in this work time itself seems to hover in suspense. Once again functional harmony is obliterated in a sea of ambiguity and irresolution. Here Debussy invests in the sounds of the piano the docile, exotic, sometimes pungent but also softly resonant sonorities of his beloved gamelan |
Label: Enigma
Credits: Recorded in concert. New York, July 1983 |
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| In English the title of this capricious, evanescent work means "goldfish." Behind its whimsy and virtuosic audacity are sexual overtones evocative of the fragile suggestiveness that accompanies the pliant vulnerability that Japanese printmakers often invest in images of women. Indeed, the image of a fish often symbolized sexual receptiveness. It was most likely an illustrated lacquer panel that was in his possession and which inspired Debussy's musical metaphor here. The Japanese artist, uncredited, shows in this painting two goldfish darting langourously in a river of gold against a black background. Its lines are curvaceous, its impression sensuous. The artist uses mother of pearl to give it even greater texture and weight to its picturesque refinements. Likewise, Debussy demanded that Poissons d'or, one of his favorites, be treated with the greatest elegance and flair. He wanted it played with the improvisatory air that makes of it something ephemeral and diaphonous. He is meticulous about the works immanent atmosphere: he writes in the score "capricieux et souple," and that's exactly what one gets in a curiously bluesy section just before the radiant and evasive coda. |
Label: Enigma
Credits: Recorded in concert New York, July 1983. |
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| Transcription for piano solo by Leonard Bortwick. |
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Credits: Recorded on a Steinway C, built about 1880. Recording made in New York City, 1990 |
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| Almost nothing is known about this waltz, attributed to Leo Tolstoi (1828-1910), and presumably composed at Yasnaya Polyana sometime after he wrote "War and Peace." There is no extant proof he really composed it at all, nor is there even so much as a manuscript in his hand. Most likely, according to reliable sources, it was written by Tanyeiff, who was a friend of Tolstoi's. The score was tucked away neatly on a dusty shelf of the music library at the Moscow Conservatory where the distinguished pianist, and my friend Margarita Fyodorova rescued it from oblivion. In its brief 32 measures it shows us its charm, its unruffled symmetry, and the carefree nostalgia once born aloft by the salon conventions of bourgeois elegance. Tolstoi or not, it is a souvenir of a faded era, nothing more, nothing less. [Please note: This recording will only be on line here at mp3.com for a limited time only!] |
CD: PRISMS
Label: AMERICUS (www.americuscd.com)
Credits: Executive producer: John DesMarteau; Producers: John Bell Young and Joseph Stephens |
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| Full title: "An Old Familiar Air that has its Own Tuxedo and Will Travel" Like Tolstoi and Nietzsche, Hugh Downs is a celebrity who is not a composer by profession. But this world renowned broadcaster and television personality is an individual whose erudition and intellectual discipline in so many areas have justifiably earned him the moniker of a modern day renaissance man. After 60 years in radio and television, Downs is a household name in America. Be it the intelligible evaluation of the physiological aetiology of aging; the cultivation of skills attached to taming wild horses; the subduing of the natural culinary proclivities of sharks in tropical seas; probing the frozen tundra of the Arctic at sub-zero temperatures; or evaluating the significance of some dusty tomb on an archeaological dig at the pyramids of Giza, Downs invests himself in every arena with passion, dignity and aforethought. He is no dilletante, but a spirit whose curiosity is insatiable and whose conclusions are profound. His lighthearted "An Old Familiar Air..." may not be, but it too is a kind of refraction of an unusually dynamic sensibility. Says Hugh himself about this piece: "When I was a child an older cousin of mine told me the ribald lyrics of a song which started out 'The girls in France wear tissue paper pants', a song that was brought back by American GIs who had served in WWI. Hearing me sing it, my grandmother was horrified and wanted to know where I had heard such a thing. Years later I composed this brief set of variations, based on that justly famed tune." [Please note: By special arrangement, this recording will remain on line here at MP3.com for a short time only]. |
CD: PRISMS
Label: AMERICUS (www.americuscd.com)
Credits: Executive Producer: John Desmarteau; Producers: John Bell Young and Joseph Stephens |
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| This fragrant bon-bon of Leopold Godoswsky is one of his most beloved -- and elegant -- compositions. This performance was actually part of a film that I made in concert in Amsterdam in 1977. That was an odd experience. Half of it was filmed while I played aboard an open boat afloat in the canals of that great city; the other half was filmed in the historic Koepelzaal. It was all so fanciful and romantic, a kind of dream, really. But it was also part of another adventure during a most magical summer. Indeed, in London only a few days before I made this recording I had the great and singular pleasure of having gotten to know, thanks to mutual friends, the wonderful and spirited Ava Gardner. I dare say that event was still very much on my mind when I gave this performance of Alt Wien |
CD: From the 1977 television documentary,
Credits: Oscar Films, Amsterdam Producer: E. Cole Santor, John Bell Young. |
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| Friedrich Nietzsche is widely known as one of the great philosophers of the last 400 years. But few are aware that he was also a composer, who wrote dozens of works for piano, voice, and ensmble. He actually wrote Unendlich (Infinite) originally as a song, set to a verse by the Hungarian poet Sandor Petofi. Likely inspired by the slow movement of Haydn's most famous stirng quartet, it is a lyrical effusion that works well in this transcription I've penned for solo piano. PLEASE NOTE: This recording is NOT from my commercial CD of Nietzsche's music on the Newport Classics label. This recording was made in concert at Steinway Hall in New York, April 1992, produced by the Nietzsche Music Project. Those interested in purchasing the Newport Classics disc (#85513) can do so online at www.berkshirerecoutlet.com. For more information on the Nietzsche Music Project, go to www.nmp-online.org |
CD: NIETZSCHE LIVE!
Label: ENIGMA
Credits: Producer: John Bell Young and Tali Makell |
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| This work belongs to Olivier Messiaen's voluminous "Vingt Regards a l'enfant Jesus," a work inspired by his intense Catholicism. Its carillon opening virtually duplicates the ringing of bells before moving on, with the greatest eloquence, to a tender, exotic and ethereal middle section constructed in seconds and ninths. |
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Credits: Recorded in concert, New York 1989 |
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| This opulent, affective work is from Grandos's Goyescas. I was but a wee lad when this recording was made in 1971 at a recital at the University of Toronto. |
CD: TBA
Label: ENIGMA
Credits: Producers: John Bell Youngnd Alexandre Vovan |
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| This lyrical but melancholy work belongs to the 10 preludes of Op. 23. Its character is elegiac; at once intense and touching, it proceeds serenely towards a magisterial, if heartbreaking climax before receding into the soulful melody with which the prelude begins. |
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Credits: Recorded at home (at that time), 58 West 10th Street, New York City, September 1985. |
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| JOHN BELL YOUNG (piano primo)& MARGARITA FYODOROVA (piano secundo) Anton Arenksy (1861-1906) is perhaps more famous for his celebrated compositions students, including Scriabin, Rachmaninoff and Glier, than he is remembered as a composer. Even so, this popular waltz, from one of his suites for two pianos, is nothing if not a bundle of charm, a glittering reminder of the years that are dead. It's an emerald confection, very much redolent with wistful nostalgia for the bourgeois values of the vanishing era -- the late 19th century -- that gave birth to it. Recorded in concert October 1996, Spring Hill, Florida. |
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| This brief musical portrait of Schumann's friend and colleague Chopin is one of the most poignant moments in his colorful suite, "Carnaval". |
CD: TBA
Label: ENIGMA
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| This touching miniature remains among Schumann's most popular and endearing works. In its few brief moments, it offers a wealth of nuance as a poignant expression of tenderness and regret. Schumann penned it as part of his larger suite, Kinderszenen (Scenes from Childhood). |
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Credits: Recorded January 1997, Brooksville, Florida. |
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| This extraordinary, if sprawling sonata comprises five movements. The first of these, a turbulent and impassioned declamation, is actually an introduction to the agitated first movement. Even so, virutally all of the principle motivic material around which the entire work orbits surfaces here. |
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Credits: John Bell Young, producer. Recorded September 19, 2000 at the Putney School, Putney, Vermont |
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| Recorded in concert, Spring Hill, Florida, October 1996 |
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| Born and bred in Italy, Theresa de Rogatis (1893-1979) married an Egyptian and relocated to Cairo in the early 1920s. A guitarist as well as a composer, she developed a popular guitar method and wrote innumerable works for that instrument. This charming work is at an opulent reminder of the years that are dead, a fadeded memento of a fin de siecle Europe. |
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Credits: Recorded in concert, St. Petersburg, Florida July 28, 1996 |
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| Crystal Cottar-Baden,soprano. John Bell Young, piano. This rare song by Enrique Granados remains to this day unpublished and unrecorded. It was composed as a gift for a friend, Aloysius Bertrand. This performance, which took place in July 1996 in St. Petersburg, Florida, was its world premiere. |
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| Crystal Cottar-Baden, soprano. John Bell Young, piano. Another of the rare songs composed by Federico Garcia -Lorca, otherwise known as one of the great poets of the 20th century. |
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Credits: Recorded in concert, St. Petersburg, Florida, July 1996 |
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| Crystal Cottar-Baden, soprano. John Bell Young, piano. Composed by the great 20th century poet, Federico Garcia-Lorca. |
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Credits: Recorded in concert, St. Petersburg, Florida. July 1996 |
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| Crystal Cottar-Baden, soprano. John Bell Young, piano. Anoather of the rare songs composed by the great Spanish poet, Federico Garcia Lorca (1899-1936) |
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Credits: Recorded in concert St. Petersburg, Florida, July 1996. |
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| Crystal Cottar-Baden, soprano. John Bell Young, piano. Few people know that the great Spanish poet Federico Garcia-Lorca was also a composer, and in fact, a close friend and protege of Manuel de Falla. Like his mentor, Garcia Lorca harmonized about a dozen poplular Spanish folk songs which were sometimes used as incidental music to his plays. This is one of the rare performances of Garcia-Lorca's highly idiosyncratic music. |
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Credits: Recorded in concert St Petersburg. Florida, July 1996, |
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| In 1978 I was invited to perform in Dailien, China, which is the Port of Peking. The United States had just signed a new treaty of cooperation with that great country, thus initiating a thaw in relations. The pianist Walter Hautzig and I became the first American pianists to perform there after this historic event. With the help of a librarian at the Philadelphia Orchestra, which had performed in Beijing several years earlier, I found an orchestral score of this vigourous Peasants and Workers March, entitled "San Pei", which, I am told, was often sung by laborers toiling away in the fields under the Maoist reginme. Be that as it may, I transcribed it for piano and indeed, it was a great hit with the Chinese audiences of that time. Perhaps today, in China's economically enlightened environment, no one would even recognize it! |
CD: JOHN BELL YOUNG IN CONCERT
Label: Enigma
Credits: Recorded in concert Ginseng Island, Dailien, China 1979. Producer: John Bell Young |
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ENOCH ARDEN 
Prisms
Nietzsche
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