Kawai Piano Prices: Two Diversions: for Solo Piano (BH Piano) [Paperback] Review

Two Diversions: for Solo Piano [Paperback]

Why are we still fascinated by Carter?, He keeps attracting attention, wherever you go, well in new music venues, I doubt if the rest of the globe cares who Carter is, so perhaps 200 afficianados in every city in the USA, less/more numbers of students, perhaps 1,000 music lovers on this planet admire Carter or even know his work on a sophisticated level, or on any level;Theodor Adorno would have said that his constituted forms carry the weight of history, the committment to shapes and spiraling polyrhythms, renders a truth(s) dimension to Carter, others simply might see the cold abstractedness of his music, I am somewheres in between,Yet "Two Diversions" is a nice threadbare piece,ricj=hly lyrical yet with anxiety.I prefer "90+" more expansive with miniature shapes; the first "diversion" is more resonant,beginning in dark penumbral reaches of the piano; with typical Carter ties across the bare-line,they recall Brahms, well romanticism lives in Carter maybe that's the conceptual hook he has cultivated, and gets everyone excited about.Did anyone ever relate to you their experiences withhearing Carter's music live? The second "Diversion is more contrapuntal, the excise of time, beginning with 12 Tone thinking,like the paradigm of "flatness" that came to painting; where time in music is displaced by how much, what gradations of affirmed intervals are or become spatialized over time; we only know the "meaning" of these intervals(again Adorno might ov-said) by how often they occur, or want to occur, but there are nice elegantly shaped places here, it is curious but the power of Carter's music in the mileau of after-post-modernity is that, his music only suggests what it is, there is history in it, but you seem to disregard that element, hearing Carter is like a nostalgia,or a melancholy for something no longer available or possible,like the time worn(encrusted) on the buildings of New York City, a time(moments) passed and not able to capture, only in the listening experience we have right now, once that recedes from memory nothing is left to contemplate. . . perhaps. . . You can find this in also in a nice collection(with her CD) instigated by Ursula Oppens for the Carnegie Endowment. . .

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Product Description:
Commissioned by Carnegie Hall, and first performed at Weill Recital Hall, New York, in 2000 by Kirill Gerstein. Recorded by Charles Rosen on Bridge Records, Winston Choi (l'empreinte digitale), and Ursula Oppens for the Carnegie Hall Millennium Piano Book (released as a book/CD by Boosey and Hawkes, 48002532). The set of two pieces contrasts between simultaneous musical ideas. 8 minutes.

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