Gabriela Montero - Baroque

Improvisation with a touch more discipline, and very welcome it is too

Record and Artist Details

Composer or Director: Gabriela Montero, Antonio Vivaldi, George Frideric Handel, Tomaso Giovanni Albinoni, Johann Pachelbel, Gaspar Sanz, Johann Sebastian Bach

Genre:

Instrumental

Label: EMI Classics

Media Format: CD or Download

Mastering:

Stereo
DDD

Catalogue Number: 514 838-2

Tracks:

Composition Artist Credit
(12) Concerti for Violin and Strings, '(Il) cimento dell'armonia e dell'inventione' Gabriela Montero Composer
Antonio Vivaldi Composer
Continuum Gabriela Montero Composer
Gabriela Montero Composer
Water Music George Frideric Handel Composer
Gabriela Montero Composer
Messiah Gabriela Montero Composer
George Frideric Handel Composer
(12) Concerti for Violin and Strings, '(Il) cimento dell'armonia e dell'inventione' Gabriela Montero Composer
Antonio Vivaldi Composer
Adagio Tomaso Giovanni Albinoni Composer
Gabriela Montero Composer
Baroque and Me Gabriela Montero Composer
Gabriela Montero Composer
(12) Concerti for Violin and Strings, '(Il) cimento dell'armonia e dell'inventione' Gabriela Montero Composer
Antonio Vivaldi Composer
Canon Johann Pachelbel Composer
Gabriela Montero Composer
Canarios Gaspar Sanz Composer
Gabriela Montero Composer
(12) Concerti for Violin and Strings, '(Il) cimento dell'armonia e dell'inventione' Gabriela Montero Composer
Antonio Vivaldi Composer
(Das) Wohltemperierte Klavier, '(The) Well-Tempered Clavier Johann Sebastian Bach Composer
Gabriela Montero Composer
Judging from her booklet-notes, Gabriela Montero holds her carefree, unplanned, “take one” improvisational modus operandi dear. Yet much of her third CD devoted to improvisations benefits from her growing focus and discipline on all fronts. She's largely conquered her earlier tendency to rush fast tempi in the heat of creation; the concise and balanced opening selection Canarios is a winning case in point. The easy lyrical flow of Montero's revamped Pachelbel Canon attests to the pianist's new-found (and very welcome) sense of space (that is, what to leave out as well as what to include). Handel's Hornpipe takes an imaginatively wrought detour through Rachmaninov's church bells, while Montero whips Vivaldi's “Summer” and “Winter” concertos from The Four Seasons into a dazzling and succinct toccata.

Like all improvisers regardless of style, Montero has her pet licks, and her over-dependence on slow left-hand ostinati sometimes blurs that thin line between effective decoration and cocktail noodling, as a rhapsodic tome based on Albinoni's Adagio bears out. But if you want a truly puerile habanera guaranteed even to make a mediocre dance-class accompanist cringe, check out what Montero does with Handel's Hallelujah Chorus's main theme. Take two, anybody?

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