Lukas Foss: Complete Works for Solo Piano
CML call number: CD/CLASSICAL/Foss
Performer: Scott Dunn.
Contents: Scherzo Ricercato (1954); Passacaglia (1940); Grotesque Dance (1938); Prelude in D (1951); Fantasy Rondo (1944); Four Two-Part Inventions (1938); For Lenny, Variation on "New York, New York" (1987); Solo (1981). Recorded March 22 and 23, 2003.
Daniel Felsenfeld wrote in the liner notes: "1953 brought the Scherzo Ricercato, a spry, swagger of a piece. … In 1947, writing something so strikingly tonal and beautiful as the Prelude in D was no doubt something at which many would have turned up their nose. … A year earlier Foss composed his Fantasy Rondo, which is in and of itself an interesting title: 'fantasy' as the freest of all forms, pitted against 'rondo,' which is perhaps the most highly structured. Foss allows himself a restricted space in which he can let his imagination run wild, and that he does, with easy, beautiful jazz harmonies floating above (and at times below) Bach-like motoric figures, and wild spastic chordal interjections serving as the constantly returning figure, although there are few exact repeats."
Performer: Scott Dunn.
Contents: Scherzo Ricercato (1954); Passacaglia (1940); Grotesque Dance (1938); Prelude in D (1951); Fantasy Rondo (1944); Four Two-Part Inventions (1938); For Lenny, Variation on "New York, New York" (1987); Solo (1981). Recorded March 22 and 23, 2003.
Daniel Felsenfeld wrote in the liner notes: "1953 brought the Scherzo Ricercato, a spry, swagger of a piece. … In 1947, writing something so strikingly tonal and beautiful as the Prelude in D was no doubt something at which many would have turned up their nose. … A year earlier Foss composed his Fantasy Rondo, which is in and of itself an interesting title: 'fantasy' as the freest of all forms, pitted against 'rondo,' which is perhaps the most highly structured. Foss allows himself a restricted space in which he can let his imagination run wild, and that he does, with easy, beautiful jazz harmonies floating above (and at times below) Bach-like motoric figures, and wild spastic chordal interjections serving as the constantly returning figure, although there are few exact repeats."
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