The Berceuse from 'The Exterminating Angel' was inspired by Kirill Gerstein's emotional response to a scene in the opera, leading Thomas Adès to arrange it as a piano piece.
Composer's Artistic Vision
Thomas Adès's music 'refracts, like a prism,' earlier traditions of pianism from composers like Chopin, Liszt, and Busoni, giving listeners a sense of orientation while still sounding new.
Recording & Production
This album features two world premiere recordings: the Concert Paraphrase on 'Powder Her Face' for Two Pianos and the Berceuse from 'The Exterminating Angel' for Piano.
Performer Biography
Pianist Kirill Gerstein first encountered Thomas Adès's music as a listener to his early CDs, but has been a frequent collaborator and inspirer of new pieces since 2012.
Compositional Technique
Thomas Adès's notation, particularly in 'In Seven Days,' uses 'irrational meters' to create a precisely shaped, written-out rubato, controlling time in a logical but asymmetrical way.
Interpretation
Pianist Kirill Gerstein describes Thomas Adès's music as requiring the 'manufacture of a key' to unlock its unique approach to musical time, similar to Busoni's philosophy.
Composition History
The Mazurkas for piano were originally composed for Chopin's bicentenary in 2010 and premiered by Emanuel Ax.
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