Though billed as a disc of "American Fantasies," exploring the possibilities of transcription in a manner reminiscent of the nineteenth century virtuoso, American pianist Michael Sheppard here attempts something more unusual -- and something more frequently undertaken by foreigners thus far than by American musicians, into whom intensely German thoughtways concerning the separation of the temple of the classics from the common vernacular street are still almost always inculcated; he offers a programming continuum running ...
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Though billed as a disc of "American Fantasies," exploring the possibilities of transcription in a manner reminiscent of the nineteenth century virtuoso, American pianist Michael Sheppard here attempts something more unusual -- and something more frequently undertaken by foreigners thus far than by American musicians, into whom intensely German thoughtways concerning the separation of the temple of the classics from the common vernacular street are still almost always inculcated; he offers a programming continuum running from popular song to concert-music experimentalism and asserts that it can all be held together by virtue of its American-ness, and by the inevitability (unavoidability) of popular musical influence. The transcription aspect of the program is fuzzier, with some of the pieces being Sheppard's own transcriptions (songs by Samuel Barber and Richard Rodgers), while others involve adaptations by others of popular songs to a classical setting. Sheppard is a technically gifted pianist with...
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