Modern Piano Works
View record and artist detailsRecord and Artist Details
Composer or Director: Igor Stravinsky, Peter Lieberson, Stefan Wolpe
Label: New World
Magazine Review Date: 4/1987
Media Format: CD or Download
Media Runtime: 0
Mastering:
DDD
Catalogue Number: NW344-2

Tracks:
Composition | Artist Credit |
---|---|
(3) Bagatelles |
Peter Lieberson, Composer
Peter Lieberson, Composer Peter Serkin, Piano |
Serenade |
Igor Stravinsky, Composer
Igor Stravinsky, Composer Peter Serkin, Piano |
Sonata for Piano |
Igor Stravinsky, Composer
Igor Stravinsky, Composer Peter Serkin, Piano |
Pastorale |
Stefan Wolpe, Composer
Peter Serkin, Piano Stefan Wolpe, Composer |
Form IV: Broken Sequences |
Stefan Wolpe, Composer
Peter Serkin, Piano Stefan Wolpe, Composer |
(4) Studies on Basic Rows, Movement: Passacaglia |
Stefan Wolpe, Composer
Peter Serkin, Piano Stefan Wolpe, Composer |
Composer or Director: Igor Stravinsky, Peter Lieberson, Stefan Wolpe
Label: New World
Magazine Review Date: 4/1987
Media Format: Vinyl
Media Runtime: 0
Mastering:
DDD
Catalogue Number: NW344

Tracks:
Composition | Artist Credit |
---|---|
(3) Bagatelles |
Peter Lieberson, Composer
Peter Lieberson, Composer Peter Serkin, Piano |
Serenade |
Igor Stravinsky, Composer
Igor Stravinsky, Composer Peter Serkin, Piano |
Sonata for Piano |
Igor Stravinsky, Composer
Igor Stravinsky, Composer Peter Serkin, Piano |
Pastorale |
Stefan Wolpe, Composer
Peter Serkin, Piano Stefan Wolpe, Composer |
Form IV: Broken Sequences |
Stefan Wolpe, Composer
Peter Serkin, Piano Stefan Wolpe, Composer |
(4) Studies on Basic Rows, Movement: Passacaglia |
Stefan Wolpe, Composer
Peter Serkin, Piano Stefan Wolpe, Composer |
Author: Arnold Whittall
I was less taken with Serkin's Stravinsky. In both works he seems to be cross-examining the music for evidence of that 'expressiveness' the composer affected to despise, only to discover triumphantly in the finale of the Sonata that energy and shape are all. In general the Serenade is too severe, too deliberate, the Sonata—until the finale—too weighty: and the recording leaves one very conscious of the space round the piano. Serkin is more at home in Peter Lieberson's Bagatelles. Having failed to respond to this composer's sprawling Piano Concerto (New World NW325, 6/86) I hoped to find him more appealing on a smaller scale. I can't claim to have been converted by these rather desultory pieces, but Serkin plays them with abundant virtuosity, and is particularly persuasive in the fanciful lyricism of the second, ''Spontaneous Songs''.'
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