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Tribute to Earl Wild

Xiayin Wang (piano)

Tribute to Earl Wild
Xiayin Wang plays this music cleanly and with technical aplomb.

Tribute to Earl Wild

Xiayin Wang (piano)

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This release includes a digital booklet

Stream now lossless, 44.1 kHz, 16 bit
Xiayin Wang plays this music cleanly and with technical aplomb.

About

Earl Wild, the legendary piano virtuoso, who died on 23 January 2010 aged ninety-four, was fondly known as the Peter Pan of pianists on account of his perennial youthfulness and stamina when tackling the great romantic blockbuster concertos that formed the centrepiece of his repertoire. Throughout his life, Wild composed a large quantity of music, from television scores to ballet music, but mainly piano transcriptions of other composers’ works, which he imbued with his own distinct voice. Famous for a unique style that encompassed many influences, both classical and popular, he will be remembered as one of the great interpreters of Liszt, Rachmaninoff, and, perhaps most significantly, George Gershwin.

This CD comprises Earl Wild’s arrangements of well-known Gershwin tunes, as well as the Piano Sonata, an original composition from 2000, which carries strong imprints of jazz, blues, rag, and American folk music, while still remaining firmly rooted in the classical form. Wild’s Grand Fantasy on ‘Porgy and Bess’ explores well-known songs presented in a free-flowing way that ultimately produces the feel of a single work. Simply to list the songs as they are heard would be misleading, as they drift in and out, receiving different treatments. For example, phrases from ‘Summertime’ are used throughout the piece in transitions from one section to another, and ‘I got plenty o’ nuttin’’ is presented as a complex and lively march while ‘There’s a boat dat’s leavin’ soon for New York’ brings the work to a flashing conclusion.

In contrast to the Grand Fantasy, which uses several of Gershwin’s melodies within one single span, the Seven Virtuoso Études does exactly the opposite. Here seven Gershwin songs are treated separately, each showcasing challenging piano techniques and thus placing great virtuosic demands on the performer. ‘The man I love’ makes extensive use of difficult polyrhythm, and demanding scales and arpeggios govern ‘Embraceable you’ while ‘Somebody loves me’ uses legato to evoke a colourful but dreamy mood.

The works on this disc are performed by the young American pianist Xiayin Wang who with her consummate technical brilliance and fine musicianship has already achieved a high level of recognition for her commanding performances in such venues as New York’s Carnegie Hall and Lincoln Center. Very active on the concert platform, she was the featured performer at the conference of the League of American Orchestras in June. She has been championed by one of New York’s great musical patrons, Bill Schwartz.

Contents and tracklist

Introduction
Track length0:14
I. Jasbo Brown Blues
Track length1:46
II. Summertime
Track length2:59
III. Oh, I can't sit down
Track length1:32
IV. My man's gone now
Track length3:10
V. I got plenty o' nuttin'
Track length3:07
VI. Buzzard Song
Track length2:35
VII. It ain't necessarily so
Track length4:07
VIII. Bess, you is my woman now
Track length2:45
IX. I loves you, Porgy - Bess, you is my woman now
Track length2:06
X. There's a boat dat's leavin' soon for New York
Track length2:46
XI. Oh Lawd, I'm on my way
Track length1:32
III. Liza
Track length3:43
V. Somebody loves me
Track length3:03
VII. The man I love
Track length2:25
IV. Embraceable you
Track length3:05
II. Oh, lady, be good!
Track length4:18
I. I got rhythm
Track length2:15
VI. Fascinating rhythm
Track length1:46
Theme
Track length3:13
Variation I. Barcarolle
Track length2:31
Variation II. Brazilian Dance
Track length2:31
Variation III. Tango
Track length4:17
I. March. Allegro
Track length6:12
II. Adagio
Track length6:39
III. Toccata (à la Ricky Martin)
Track length4:24

Awards and reviews

May 2011

Xiayin Wang plays this music cleanly and with technical aplomb.

January 2011

Call me a heretic, but I generally prefer Wang's interpretation to the composer's. Her faster tempo and more agile dotted rhythms in the first movement better convey the music's marching urgency, while her fingerwork in the Ricky Martin-inspired Toccata finale is altogether lighter, more playful and sharply accented

December 2010

Wang plays not only with commendable dexterity but also much softness and affection...she is very persuasive and, moreover, is excellently recorded, with presence and fullness: a really top-notch piano sound.
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