The internationally acclaimed concert pianist Alice Sara Ott recently issued a heartfelt and brave statement concerning her health and recent diagnosis of multiple sclerosis, touching on the impact this has already had on her life, and on her hopes for her career.
Alice is without question one of the leading pianists of her generation.
Her recordings for Deutsche Grammophon have been consistently excellent and innovative; as an independently-minded creative artist she has already made a huge mark, even though she only recently turned 30.
Launching my Recording of the Month feature on Pianodao last autumn, her outstanding “Nightfall” disc of Debussy, Satie and Ravel was my immediate choice for the inaugural article, which you can read here (and please do).
For this week’s Sunday Sounds, I’ve picked the enchanting opening track from that album, courtesy of Deutsche Grammophon‘s YouTube channel:
Sunday Sounds showcases great keyboard music featuring players past and present, from classic recordings to great new music discoveries.
Of the many wonderful young pianists who have arrived on the international performing circuit in recent years, Alice Sara Ott impresses me as one of the more honest to her own artistic intentions, and authentic in her delivery.
Her several recordings for Deutsche Grammophon have consistently revealed Ott as an intelligent pianist, eschewing glitz for its own sake, ready and willing to plough her own musical furrow, staying true to her vision and – importantly – to the intentions and spirit of the composers whose music she identifies with.
Commenting on her latest release, Nightfall, the now-30-year-old German pianist writes:
“It’s a very personal album in which I recall many moments of light and brightness, but also moments of darkness and doubt. One month before I entered the recording studio – I was in the midst of the bleak world of Gaspard de la nuit – my father suffered a heart attack that he barely survived. Despite a fortunate outcome, these were terrifying hours and days in which I realised how close life and death are intertwined. But there can be no light without darkness, and no hope without fear. And sometimes the borders blur – as in Nightfall.”
As many will know, pianists and classical music lovers are this year marking the centenary of Debussy’s death in 1918.
In a previous post I addressed the frequently asked question, “where to start?” exploring his piano works, suggesting Bärenreiter Edition’s Easy Pieces and Dances collection and their excellent urtext edition of the Preludes livre 1 as great entry points.
In this post I will look at a couple of Bärenreiter’s other Debussy editions – the two volumes of Images, but first Pour le piano. These are virtuoso concert works which qualify for the diploma and professional tag in terms of difficulty.
It’s all about Claude Debussy for classical music lovers and pianists this year, as we mark the centenary of his death in 1918.
And rightly so! Because few composers have made such a seminal contribution to the pianist’s literature, or composed music which explores such a range of colour, tonal possibility and timbre from the instrument.
Later on in this review I will be taking a look at the Bärenreiter Urtext edition of Debussy’s Préludes (1er Livre).
But first, what about players who aren’t yet sufficiently advanced for these masterpieces? For the developing pianist, the question often arises – where to start exploring Debussy’s rich, varied and substantial body of piano music?
The good news is that, while Debussy never wrote anything simple, his oeuvre does offer up plenty of music that suits pianists of early advanced, around Grade 5-8 level. And while many of these pieces are among the world’s most cherished, a few remain surprisingly less well-known.