Robert Jordan, Pianist | Robert Jordan

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Classical: Piano solo Classical: Keyboard Music Moods: Solo Male Artist
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Robert Jordan

by Robert Jordan, Pianist

Robert Jordan, pianist plays Liszt, Chopin, Taylor, Borden
Genre: Classical: Piano solo
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  Song Share Time Download
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1. Schema For Piano, I. Moderato
0:59 $0.99
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2. Schema For Piano, II. Lento
3:00 $0.99
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3. Schema For Piano, III. Allegro
2:46 $0.99
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4. Two Dialogues, I. Con giovialita
1:16 $0.99
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5. Two Dialogues, II. Allegretto
1:28 $0.99
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6. Polonaise-Fantasie, Op. 61
11:23 $0.99
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7. Sonetto 104 del Petrarca
6:03 $0.99
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8. Nuages Gris
2:32 $0.99
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9. Nocturne-En Reve
1:35 $0.99
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10. Vier Kleine Klavierstucke, I. Sehr Langsam
2:14 $0.99
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11. Vier Kleine Klavierstucke, II. Andantino
1:12 $0.99
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12. Vier Kleine Klavierstucke, III. Moderato
2:05 $0.99
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13. Vier Kleine Klavierstucke, IV. Sehr Langsam
1:47 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
Notes on Schema for Piano (1964), Dean C. Taylor
"Schema" Which is basically Classical in mood, expresses conflict between joy and subdued drama. The first movement, Moderato, beginning with a three-measure introduction containing an ascending seven-note motive, develops linearly in a pure and clean fashion. The staccato figures that often originate in the bass line along with the melodic phrases remain distinct and unfold joyfully and unmuffled, rhythmically working themselves to the violent octave surge upward, over a motor-ostinato in the bass that ends abruptly in an open sound.
The second movement, Lento, flows from this space, the idea being that of silence. The contrapuntal movement against the chords establishes tension and dialogue; the minor sixths give a touch of melancholy; and the thinness of texture and frequent pauses present an element of drama.
The last movement, Allegro, rondo in form, brings back ideas from the preceding movements, in different atmospheres and combinations. The rhythmic element that was more tame in the first movement becomes bold and frenetic--shifting rhythms, running staccato figures, dance-like movements and repeated rhythms come together to direct the work to a dream-like march, underlined by a tension that tints the work with a split duality of joy and introspection.
Dean C. Taylor

Notes on 15 Dialogues, (1959), David Borden
Originally, my 15 Dialogues were composed for trumpet and trombone during my student days at Eastman. My reason for composing them was to improve my technique in contrapuntal writing. Although I have studied many contrapuntal pieces by composers from Machaut to Stravinsky, I was never interested in duplicating styles but instead, tried to extract the essence and absorb, in a non-verbal way, what was going on behind the notes. My choice of 15 is an obvious nod to Bach's Two Part Inventions.
Much to my surprise and delight, a publisher of brass music heard some of the Dialogues at a concert and expressed interest in publishing them. I gave the project my blessing, and shortly after, Mary Rasmussen in her Teacher's Guide to the Literature of Brass Instruments (Durham, N.H. 1964), described them as the best duets in the literature.
Around this time, my friend Robert Jordan asked me to transcribe some of them for piano solo. I did, and he has performed them in solo concerts around the world. I'm so impressed by Robert's abilities both as a performer and teacher, that I've decided to transcribe all 15 of Dialogues for piano and dedicate the collection to him.
David Borden


Notes on Polonaise-Fantasy, Opus 61-Frederic Chopin
The Polonaise-Fantasy is surely among Chopin's most inspired utterances - truly a work that soars on the wings of song. It is more of a fantasy than a polonaise, and if it dances at all, it is with its heart. There is, too, something in the nature of a mosaic about the construction of this composition - dramatically different and unrelated sections, often complete within themselves, but put together by Chopin in a manner both daring and mesmerizing. Its harmonic scheme and use of modulation is as inventive and subtle as one is apt to find and shows Chopin at his most lavish.
Robert Jordan (The Piano Fantasy:Some Reflections)


Notes on Liszt pieces, Tom Bingham
It may seem totally illogical at first glance to couple the music of one of the Great Masters of 19th Century Europe with two American works composed during the past half-century. One’s initial impression will quite understandably be that unusual juxtaposition would make for highly incompatible tracks of a CD.

An objective hearing, however, should reveal that the disparity between the music of Liszt - in particular the lesser-known late-period pieces recorded here, some for the first time – and that of the 20th Century is not nearly so drastic as might be imagined. Franz Liszt is generally and quite properly identified with 19th Century Romanticism. It should be kept in mind, however, that in his latter years, Liszt experimented with tonality and mood to the extent that much of his music became considerably removed from the Romantic mainstream. Liszt’s loosening of the grip of what was then accepted as orthodox harmony, his increasing use of sparse textures, and an inclination toward the mystical (sometimes cool and concealed, yet certainly too evocative to call “abstract”) are aspects of his work too-little appreciated by those who know only the Hungarian Rhapsodies, Les Preludes, the piano concerti, and so on. Indeed, it could be argued that Liszt’s later music was a harbinger of 20th Century music, in particular, the impressionistic movement (Ravel being a case in point).

The Sonetto 104 del Petrarca is one of three such Petrarch Sonnets published in 1846, arranged from songs Liszt composed in 1838-9 (published 1847) for high tenor voice. Both the piano and song versions were later re-written, the former being included in Book II of "Annees de Pelerinage".

"Nuages Gris" is the supreme example of Liszt in his role of precursor to the 20th Century. Written in 1881, this brilliant, tightly compact composition is "modern music" in all but chronology. This is mysterious, provocative music very much in the vein of French Impressionism, albeit darker, more somber. In "Nuages Gris", Liszt pushes 19th Century tonality to the brink if not beyond with a final ascent which leaves the listener hanging.

"En Reve" is an enchanting nocturne, perhaps even more Impressionistic in mood, yet decidedly Lisztian. It begs to be played with poetic delicacy, with every note placed just so, to achieve the right blend of charm and substance. Robert Jordan's performance perfectly captures that blend with taste and precision.

The Four Little Piano Pieces, written for Baroness Olga von Meyendorff, date from 1865 to 1876. Although they are clearly Lisztian, each anticipates Impressionism to some small degree. Not only do they bear out Liszt's melodic and harmonic creativity, they also attest to his supreme ability to summon up a reflective atmosphere in a remarkably short space of time. Again, Robert Jordan demonstrates the poignancy and sensitivity of his touch and phrasing.

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