This extraordinary performance uses the simple idea of dance to link music from the late nineteenth and early twentieth centuries, from eastern and western Europe, from the Old and New Worlds. British pianist Kathryn Stott selects music by composers usually classified as modern (Stravinsky, Bartók), as late Romantic (Brahms, Tchaikovsky), as nationalist (Dvorák, Albéniz, Villa-Lobos), and as semi-popular (Ernesto Lecuona, Astor Piazzolla, and Camargo Guarnieri, whose name is misspelled in the tracklist), as well as several ...
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This extraordinary performance uses the simple idea of dance to link music from the late nineteenth and early twentieth centuries, from eastern and western Europe, from the Old and New Worlds. British pianist Kathryn Stott selects music by composers usually classified as modern (Stravinsky, Bartók), as late Romantic (Brahms, Tchaikovsky), as nationalist (Dvorák, Albéniz, Villa-Lobos), and as semi-popular (Ernesto Lecuona, Astor Piazzolla, and Camargo Guarnieri, whose name is misspelled in the tracklist), as well as several composers who do not fit any of these categories. All of these composers wrote music rooted in the popular dances of the times in which they worked, and the continuity of the dance tradition, in Stott's hands, comes to seem as important as the various "watershed" moments generally thought to define the music of the early twentieth century. The placement of Chopin's Mazurka in A minor, Op. 17/4, at the end of the program has an exquisitely nostalgic feel, suggesting the sensation of a...
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