Composer: Maurice Ravel, Robert Schumann, Igor Stravinsky
Performer: George Li
Format: FLAC (tracks)
Label: Warner
Catalogue: 5419789314
Release: 2024
Size: 1.2 GB
Recovery: +3%
Scan: yes
01. Schumann: Arabeske in C Major, Op. 18
Schumann: Davidsbündlertänze, Op. 6
Heft I
02. No. 1, Lebhaft
03. No. 2, Innig
04. No. 3, Mit Humor
05. No. 4, Ungeduldig
06. No. 5, Einfach
07. No. 6, Sehr rasch
08. No. 7, Nicht schnell
09. No. 8, Frisch
10. No. 9, Lebhaft
Heft II
11. No. 10, Balladenmäßig. Sehr rasch
12. No. 11, Einfach
13. No. 12, Mit Humor
14. No. 13, Wild und lustig
15. No. 14, Zart und singend
16. No. 15, Frisch
17. No. 16, Mit gutem Humor
18. No. 17, Wie aus der Ferne
19. No. 18, Nicht schnell
Ravel: Valses nobles et sentimentales, M. 61
20. No. 1, Modéré, très franc
21. No. 2, Assez lent, avec une expression intense
22. No. 3, Modéré
23. No. 4, Assez animé
24. No. 5, Presque lent, dans un sentiment intime
25. No. 6, Vif
26. No. 7, Moins vif
27. No. 8, Épilogue. Lent
Stravinsky: Three Movements from Petrushka
28. I. Russian Dance
29. II. Petrushka’s Room
30. III. The Shrovetide Fair
In choosing Movements as the title for this album of piano works, George Li highlights both their structure and their dancing spirit: the 18 movements of Schumann’s Davidsbündlertänze (supplemented by his Arabeske in C major) are followed by Ravel’s eight Valses nobles et sentimentales and three movements from Stravinsky’s score for the ballet Petruskha.
“There are intriguing and intoxicating elements in this dance programme that captured me from the outset when crafting it,” says the Boston-born pianist. “Broadly speaking, I love the effects of colour and harmony in these works, as well as the general feeling of an evolution, or perhaps a continuous battle, between the introverted and extroverted impulses … The Davidsbündlertänze embodies the full spectrum of human emotion – despair, anxiety, sorrow, triumph, bliss, or pure love, to name a few … Another fascinating element in this program is the motivic and harmonic threads which connect the smaller pieces into a cohesive whole. Recently, I’ve developed a great obsession with learning how to weave musical moments into a single overarching architectural narrative. This program offers a different challenge – giving space for each musical moment to be its own distinct individual voice, while also still maintaining the narrative arc …”