GARDNER READ: Fantasy-Toccata for Harpsichord (1992) - MARK KROLL

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Uploaded by on Jul 30, 2010

Mark Kroll, harpsichord

from Albany TROY457 (2001)

http://www.albanyrecords.com

New American sounds for an old instrument.
The harpsichordist Mark Kroll has long been recognized as one of the central figures in the field of historical performance and early keyboard instruments. During a career spanning over 50 years, he has concertized worldwide as a harpsichordist and fortepianist, winning critical acclaim for his virtuosity and expressive playing. His many recordings include solo repertoire, violin and keyboard music with Baroque violinist Carol Lieberman, and world premiere recordings of Hummel's transcriptions of Mozart symphonies. As an educator he has served as Professor and Chair of the Department of Historical Performance at Boston University since 1977, and he is frequently invited to teach as guest professor at music academies such as Wurzburg. This is his first recording of a disc devoted to just contemporary music and it is most welcome. How many remember the wonderful recording of the beautiful Trimble piece on Columbia in their modern American music series? This new performance is just as stunning and most welcome.

Contents:
Lou Harrison, composer
Six Sonatas for Cembalo
Mark Kroll, harpsichord

Ellen Taaffe Zwilich, composer
Fantasy for Harpsichord
Mark Kroll, harpsichord

Gardner Read, composer
Fantasy-Toccata for Solo Harpsichord
Mark Kroll, harpsichord

Walter Piston, composer
Sonatina for violin and Harpsichord
Carol Lieberman, violin, Mark Kroll, harpsichord

Robert Starer, composer
Yizkor and Anima Aeterna for Flute and Harpsichord
Alan Weiss, flute, Mark Kroll, harpsichord

Lester Trimble, composer
Four Fragments from the Canterbury Tales
Nancy Armstrong, soprano, Bruce Creditor, clarinet, Alan Weiss, flute, Mark Kroll, harpsichord
Review:
"Kroll's superb playing and Harrison's and Piston's gems...make this a good buy." (Gramophone)

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All Comments (8)

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  • @organman52 Composing at the Piano? Hussars at the Keyboards as J S Bach disdained. I wonder how they will fair with the economic cuts such as the U of C $500 million? These tenured teachers, the heirs of the "experimenters," engendered the public's apathy towards classical music. They'd have starved to death in the US if they had to survive on their "talent." Music eduction cuts over the last 40 years have come and gone without so much as a whimper.

  • @Renshen1957 You are absolutely right about the university element. I have known way more than my share of these masqueraders. They contrive everything they write down. I have actually witnessed a rather well-known 'composer' sitting at the piano and plunking things out, and when 'satisfied' moves on to the next measure. This is paper music, nothing more.

  • @organman52 E Power Biggs played works by contemporary composers on Historic European Instruments on a number of his albums. My mother who was accused of being tone death asked if the record player was broken.

    Unfortunately, this is the type of " crap" that University Music Schools have been trying to shove down our throats for the last 50+ years and to the exclusion of everything else for composition.

    Don't blame the Mr. Kroll, he equals Pinnock, Scott, or GL when performing 18th C.

  • I heard Mr. Kroll in concert play Spiders in Monterey, CA after Scarlatti et. al in 1974, he was championing 20th Century music through out his career, in part to expressiveness of the instrument and to promote composers to write new music.

    This would make excellent background music to a slasher film or a remake of Arsenic and Old Lace. As to Garner Read abilities as a composer, I can only send my wishes to "Get Well Soon!"

  • It's just dissonant music, which the public doesn't seem to appreciate.

  • This sounds like a house pet walking on the keys. If Mr. Kroll claims to have 'heard' this nonsense, he should be institutionalized.

  • sorry but sounds so ugly..........uf!!!!

  • sorrry... is so ugly......ufffffff!!!!!!!

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