Fazıl Say – Black Earth (2003)


Title: Black Earth
Year Of Release: 2003
Label: Naïve
Genre: Classical
Quality: FLAC (tracks+.cue)
Total Time: 00:53:45
Total Size: 232 Mb


01. Black Earth - (05:28)

Sonata For Violin And Piano, Op. 7
02. I. Intruduction: Melancholy - (03:17)
03. II. Grotesque - (02:05)
04. III. Perpetuum Mobile - (01:49)
05. IV. Untitled - (03:11)
06. V. Epilog: Melancholy - (03:29)

07. Silk Road Concerto - (15:31)
08. Silence Of Anatolia - (07:17)
09. Obstinacy - (04:14)
10. Paganini Variations For Piano - (03:56)
11. Dervish In Manhattan - (03:28)

Fazil Say - piano
Laurent Korcia - violin (2-6)
Orquestra de Camara Gulbenkian | Muhai Tang (7)
Orchestre National de France | Eliahu Inbal (8-9)
Fazil Say | Kudsi Erquner Quartet (11)

Track 1 recorded at "Internationale Beethovenfeste", September 2002, Bonn, Germany; 2 to 6 at "Teldex Studio", March 2003, Berlin, Germany; 7 at "Gulbenkian Foundation", 2001, Lisboa, Portugal; 8, 9 at "Théâtre des Champs-Élysées", January 2002, Paris, France; 10 at "Lucerne Festival, Lucerne Culture and Convention Centre", November 2002, Switzerland; "Radio France & Montpellier Festival", July 2000, France.

As a pianist, Fazil Say has effectively straddled the worlds of classical music and jazz with successful releases of music by Mozart, Haydn, Beethoven, Ravel, and Bartók under his belt, as well as frequent appearances at major international jazz festivals. As a composer, Say has had numerous performances and commissions by prestigious orchestras to establish his credibility in the classical world, but the character and style of his own music is far more slanted to jazz than classical. He cites Bartók and Stravinsky as significant influences, and it's easy to hear that in his fluency with modern techniques, but the sound of the music itself is often closer to Art Tatum (or Turkish and Middle Eastern folk traditions and popular song) than to the classical side. The piano solos like Black Earth and Paganini Variations and the chamber pieces like the Sonata for violin and piano and Dervish in Manhattan have a fluidity that makes them sound like the transcriptions of improvisations. Say puts a distinctive spin on most of the pieces by using avant-garde techniques such as playing inside the piano and preparing the piano strings. His intent doesn't seem to be avant-garde, though; the effects persuasively broaden the timbres of the piano, often so that it can approximate the sound of traditional folk instruments. The larger scale works, Concerto No. 2, "Silk Road," and Pieces for Piano and Orchestra, are colorful, attractive pieces that frequently have a Middle Eastern flavor.