Piano Factory

Atopos Survey 1. / Italian Vacation 11. / Piano Factory 12.

Although Atopos has been around for over a decade, I’ve only just discovered them. The emphasis is of course Italian, the sensibility suggesting various late-20th century Italians taking cues from European (Darmstadt) and American (Cage, Feldman, et al.) trends.

Atopos Survey 1. / Italian Vacation 11. / Piano Factory 12.

Although Atopos has been around for over a decade, I’ve only just discovered them. The emphasis is of course Italian, the sensibility suggesting various late-20th century Italians taking cues from European (Darmstadt) and American (Cage, Feldman, et al.) trends.

Piano Factory 11.

Finnissy’s huge and nigh impenetrable opus suggests that music may comment only upon itself.

Piano Factory 11.

Finnissy’s huge and nigh impenetrable opus suggests that music may comment only upon itself.

Piano Factory 10.

Alongside Zagny’s gently wandering preludes (there are 12 of them) we hear a gentle strumming much like a radiator in the room next door, altogether describing a fragile interior scene.

Piano Factory 10.

Alongside Zagny’s gently wandering preludes (there are 12 of them) we hear a gentle strumming much like a radiator in the room next door, altogether describing a fragile interior scene.

Piano Factory 9.

Shepherding the work’s first if not best-documented performance, Cage took Satie’s ludicrous directions seriously and stabled a team of pianists to crank out Vexations’ 840 required repetitions.

Piano Factory 9.

Shepherding the work’s first if not best-documented performance, Cage took Satie’s ludicrous directions seriously and stabled a team of pianists to crank out Vexations’ 840 required repetitions.

Piano Factory 8. (D. 840)

In 1825 Schubert abandoned a C major piano sonata. After Schubert died in 1828 his brother Ferdinand gave the manuscript to Schumann who then passed it to first publisher K.F. Whistling. Whistling presumed the sonata was left incomplete because of the composer’s death and erroneously gave it the nickname “Reliquie” (Relic).

Piano Factory 8. (D. 840)

In 1825 Schubert abandoned a C major piano sonata. After Schubert died in 1828 his brother Ferdinand gave the manuscript to Schumann who then passed it to first publisher K.F. Whistling. Whistling presumed the sonata was left incomplete because of the composer’s death and erroneously gave it the nickname “Reliquie” (Relic).

Piano Factory 7.

I’ve been dipping into this fluent sampler between more difficult stuff, enjoying Halffter’s compact brightness and Santinelli’s flair and execution.

Piano Factory 7.

I’ve been dipping into this fluent sampler between more difficult stuff, enjoying Halffter’s compact brightness and Santinelli’s flair and execution.

Piano Factory 6.

Played in keeping with the epoch, Casals renders Blasco de Nebra’s unexpected dissonance and striking rhythms as the more exciting.

Piano Factory 6.

Played in keeping with the epoch, Casals renders Blasco de Nebra’s unexpected dissonance and striking rhythms as the more exciting.

Piano Factory 5: Haydn Sonatas

Coming off a Haydn year (2009), we’re awash in the man’s music. The piano sonatas are numbered according to Christa Landon’s ordering of the extant 62.

Piano Factory 5: Haydn Sonatas

Coming off a Haydn year (2009), we’re awash in the man’s music. The piano sonatas are numbered according to Christa Landon’s ordering of the extant 62.

Piano Factory 4.

No desiccated embryos here. The LTM pair enshrines Satie compositions from the early to mid-1890s, the period preceding the ironic collections with the wacky titles.

Piano Factory 4.

No desiccated embryos here. The LTM pair enshrines Satie compositions from the early to mid-1890s, the period preceding the ironic collections with the wacky titles.

Piano Factory 3.

Upon consideration, Fray’s programming makes sense: Both composers, lording over their respective periods, required and require subsequent generations to instigate new styles and techniques.

Piano Factory 3.

Upon consideration, Fray’s programming makes sense: Both composers, lording over their respective periods, required and require subsequent generations to instigate new styles and techniques.