In his pioneering works on cognitive musicology and music psychology, the late Leonard B. Meyer defended the concept of redundancy in its promotion of musical understanding, and for its important role in listeners' emotional engagement. Although the use of leitmotivs and recurrent musical events undoubtedly help listeners construe a cohesive representation of the musical discourse, the research premise of finding how music evokes affective responses provides as many different theories as there are psychoanalytic schools and philosophies.In his seminal text Emotion And Meaning In Music (University Of Chicago Press, 1956), Meyer, a self-confessed Gestalt-influenced thinker, basically arrives at ...read more
With Her First Dance, Moldavian pianist Misha Alperin returns to ECM six years after the release of Night (2002). He brings with him two past musical partners--cellist Anja Lechner, who appeared on Night, and also with bandoneonist Dino Saluzzi on the phenomenal Ojos Negros (ECM, 2007), and horn player Arkady Shilkloper, whom Alperin first met in 1983. The two recorded their first ECM disc in 1989, Wave Of Sorrow (1990), under the name Mikhail Alperin. The mood of the music, composed by Alperin except for Shilkloper's The Russian Song," is immediate and strong from the first notes. ...read more
It's been six years since Ukrainian-born Misha Alperin released 2002's sublime Night (ECM), that was recorded in 1998, the same year the pianist recorded his lucent solo album, At Home (ECM, 2001). It was with Night that Alperin first collaborated with Anja Lechner, an increasingly active cellist on ECM, comfortably traversing the narrowing gap between classical and improvised music. Her First Dance continues the partnership, but broadens the palette with the return of hornist Arkady Shilkloper, who has been Alperin's longtime musical companion dating back to their duet release and ECM debut, 1990's Wave of Sorrow. Alperin may ...read more
Ukrainian pianist Misha Alperin’s commissioned work simply entitled Night presents a contrast from the norm in the way most audiences think of jazz orchestrations. Without “big horn sections, lots of noise, electric instruments, or special guest stars...”, the ensemble quietly but profoundly consists of piano, violincello, and percussion to deliver its theme. The silent absence of pretentious music mirrors Alperin’s vision for the suite: The musical symbolization of the “intense silence of night”, with abrupt intrusions of noise, such as a slamming car door, or an approaching thunderstorm.
Night was performed and recorded live in 1998 at Vossa Jazz Festival ...read more