Metropolis Ensemble, Andrew Cyr & Timo Andres – Timo Andres: The Blind Banister (2024)
FLAC (tracks) 24 bit/96 kHz | Time – 49:33 minutes | 943 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Nonesuch
The album comprises three works by Andres: the composer’s third piano concerto, The Blind Banister, with Andres as soloist, and Upstate Obscura for chamber orchestra and cello, with soloist Inbal Segev—both of which feature Metropolis Ensemble and conductor Andrew Cyr—and the solo piano piece Colorful History, also performed by the composer.
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Timo Andres, Jeremy Denk, Brad Mehldau, Randy Newman – I Still Play (2020)
FLAC (tracks) 24 bit/44,1 kHz | Time – 39:18 minutes | 444 MB | Genre: Classical
Studio Masters, Official Digital Download | Front Cover | © Nonesuch
The existence of I Still Play as an album is a bit of a paradox. Each of these 11 tributes to [former Nonesuch president] Bob Hurwitz was written for an audience of one, on a particular Steinway in a specific Upper West Side living room. And yet here they are, making their way into the wider world. None are loftily ambitious or daringly experimental compositions. Rather, each distills an aspect of its author’s voice to a concentrated miniature. The prevailing tone is conversational rather than declamatory, though it’s a wide-ranging conversation. Large questions are posed but rarely answered in full. If the listener has the odd feeling of having stumbled into an exchange between two friends and missing an inside joke or shared reference here and there—that’s not far from the truth.
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Sufjan Stevens, Timo Andres – The Decalogue (2019)
FLAC (tracks) 24 bit/96 kHz | Time – 27:23 minutes | 444 MB | Genre: Modern Classical, Classical
Studio Masters, Official Digital Download | Front Cover | © Asthmatic Kitty
The title of “The Decalogue” has a touch of the grandiose: it means “The Ten Commandments.” Yet this score, composed by Sufjan Stevens for a dance work choreographed by Justin Peck that premiered with the New York City Ballet in May of 2017, is quiet and experimental. Stevens’s piano score, as played and recorded by Timo Andres, sounds like etudes in the Romantic-modernist tradition, as if prompted by Debussy.
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