Jazz
Laufey Lin
22 products
Mozart: 16 Sonatas for Violin & Piano
Chamber Music - Piano Trio / Duo / Elegy / Notturno / Gershwiniana
Chinoiserie / Jenny Lin

Rather than an attempt to depict a reality-based musical view of China, pianist Jenny Lin's program seems designed to show how fantasy tends to mix with reality in many Western composers' attempts to evoke the flavor of a far-off, exotic land that held strong fascination. Of course, this fascination with the Orient in general began centuries ago with Europeans' first awareness of music, styles, food, and art, an awareness that grew to spawn periodic fads and influence fashions. Rulers stocked their palaces with treasures brought from the far east; Puccini and Gilbert and Sullivan celebrated this attention and many other composers included or tried to include elements of what they thought was oriental "flavor" in some of their works. Most often, however, the result was as much like real Chinese as the Moo Goo Gai Pan from your local takeout.
Lin has chosen a varied and eminently colorful program that includes many unfamiliar works--but no one can complain that this isn't one of the more engaging, intriguing, original, and entertaining piano recordings to come along in the past year. And pianist Lin is a wonderful musician, in total technical command of this long (nearly 80 minutes) and formidable program. And (as long as we're on the subject) she imbues the music with an enticing mix of variously scented spices that truly bring out the unique, if rarely authentic flavors of each composer's creation. As you might expect the pentatonic scale and its permutations are a ubiquitous presence, a feature that may have seemed merely curious a century ago but now comes off as more than a little cartoonish and hackneyed. But it still can be made charming and even pretty, as in Martinu's The Fifth Day of the Fifth Moon, or sensuous, as in the surprising, Debussyian Lotus Land by Cyril Scott. Morton Gould's Pieces of China is a kind of Pictures at an Exhibition for the Kodak age. The idiom is a hybrid of borrowings from popular music styles (especially jazz) and the Western composer's "do-it-yourself Chinese music fake book"--but it's an absolutely charming condensation of cliché and postcard images, from "The Great Wall" to "Puppets" to "Slow Dance-Lotus".
Other highlights include Anton Arensky's Étude sur un theme chinois Op. 25 No. 3, a great encore piece that whirls and swirls its way through four exciting minutes; Percy Grainger's Beautiful Fresh Flower, loaded to overflowing with open fourths and pentatonic melodies; John Adams' predictably busy-but-going-nowhere evocation of China Gates; and Albert Ketèlby's In a Chinese Temple Garden, complete with gong. The prize for most authentic goes to Alexander Tcherepnin's Five ('Chinese') Concert Études Op. 52. The composer not only lived in the Far East for nearly three years in the 1930s, but he married a young Chinese concert pianist, Lee Hsien-Ming, for whom the etudes were written. Inventive and artful in their use of real Chinese melodies and impressions of Chinese instruments, these pieces have been virtually ignored by pianists but, especially as Lin presents them, they also deserve serious attention by others. Lin's fluid legatos, skillfully calibrated dynamics, and polished rapid fingering technique really shine here.
In the "works that have Chinese names but nothing to do with China" category are Abram Chasins' Rush Hour in Hong Kong, which from the sound of it just as well could be San Francisco or London or any other city; Ferruccio Busoni's Turandots Frauengemach, which is based on the folk tale Turandot, but whose theme is the very English tune "Greensleeves" which, according to the excellent liner notes, Busoni mistakenly thought was Chinese; and Rossini's Petite Polka chinoise, in which amusingly you can hear lots of Chopin but virtually no chinoiserie. Lin plays this with knowing humor and understated flair.
Lin's Steinway benefits from an acoustic that complements and naturally captures its full range and character, from robust lows to ringing highs. This is a release that every piano enthusiast should own. Those looking for a quirky but unfailingly delightful visit to China will enjoy it too. [7/1/2000]
--David Vernier, ClassicsToday.com
Laureate Series - Violin - Korngold / Lin, Loeb
Compared to Kiss, Lin sounds relatively sweet-toned, and the timings of his movements fall between those of Kiss and Waltman. But while those two-odd minutes may seem insignificant in a four-movement work, they also can represent a sort of general relaxation that makes the work sound more discursive, though Lin and Loeb play with plenty of energy and attack the more aggressive passages in the first movement, for example, with plenty of gusto and plenty of sharp-edged panache at the movement’s climax. The duo also takes command in the large-scale Scherzo (at 10:37 in this recording, that movement occupies almost a third of the Sonata’s duration), and though there may be a degree of roughness in Lin’s attack, he brings a sense of excitement to the movement. Lin’s purity of tone on the E string generates thrilling intensity in the slow movement, powering its leaps into the stratosphere. If the Sonata’s dedicatees inspired its seriousness, Korngold certainly rose to the occasion, and so do Lin and Loeb.
The shorter pieces begin with the Serenade from Der Schneemann, a rapt miniature that shows off Lin’s tonal command but also his wide and rather slow vibrato, which, for some listeners, may even threaten to grow annoying. From Korngold’s opera, Die tote Stadt, come the two short pieces, “Tanzlied” and “Marietta’s Lied,” the first a delicately wistful song that’s immediately ingratiating, and the second, an affecting lyrical outpouring that could vie successfully with the most popular works in the genre. The Caprice, subtitled “Wichtelmännchen,” or “Goblins” could similarly almost take the place of several similar pieces, like Bazzini’s Dance of the Goblins or Paganini’s “Witches’ Dance” on recital programs, though it’s more atmospheric than brilliant. Lin sounds a bit more polite in this miniature—and occasionally more ardent, by turns—than does Shaham, who plays it with more suggestive macabre energy.
Naxos’s issue offers yet another chance to ponder the question posed above: did Korngold’s work in Hollywood debase his musical coin or polish it? Lin and Loeb make a great deal of this repertoire, and their readings deserve a recommendation to anyone interested in it, in young violinists (the release appears as part of Naxos’s “Laureate” series), or in Korngold—or even to more general listeners. Recommended."
FANFARE: Robert Maxham
The World Of Crawford-Seeger / Jenny Lin, Timothy Jones

Pianist Jenny Lin, in her second release for BIS, scores with a program that's as substantial and historically important as her first (Chinoiserie) was entertaining and amusing. Ruth Crawford Seeger commands respect for a number of reasons: as one of the first significant American woman composers; as a representative of the progressive school in the first decades of the last century; and not least as an ethnomusicologist and expert on American folksong. This first CD devoted entirely to the original piano works (there are also numerous folksong arrangements) not only contains several world premieres but also permits us to see the composer's achievement whole, in all its variety. Just as importantly, while some of these pieces have enjoyed previous recordings, Lin's performances equal or better the competition in every case.
The pieces here fall into two broad categories: first, lightly diverting character pieces of conservative cast (Little Waltz, Little Lullaby, Caprice, Jumping the Rope, Whirligig), some composed with a pedagogical purpose (We Dance Together, Mr. Crow and Miss Wren Go for a Walk--A little study in short trills); second, more exploratory works that take notice of various more modern trends such as impressionistic or chromatic harmony, free atonality, expressionism, and complex rhythms. These are the pieces that offer the pianist real technical and interpretive opportunities, and Lin makes the most of them. In a transitional work such as the Sonata of 1923, her bravura attack on the music's eruptive elements traces the emergence of Crawford Seeger's mature style with the same clarity with which we can see a painter like Mondrian beginning to reduce traditional or naturalistic forms and images to a few basic, abstract lines. The Theme and Variations from the same year continues this process, offering Lin scope for some brilliantly clear finger work (in the first variation especially) and Lisztian display.
In the marvelous Kaleidoscopic Changes on an Original Theme, Lin simply outplays Virginia Eskin (Albany), offering both greater structural integration and more physical excitement. The Nine Preludes, Crawford Seeger's most popular keyboard works, appear here in two groups of five and four respectively, this second batch incorporating for the first time unpublished corrections to the printed text in the composer's own hand. Sarah Cahill recently recorded an outstanding version of the preludes for New Albion, and her smoother tone and magical pianissimos complement Lin's more sinewy, highly contrasted approach. In the Eighth Prelude, for example, Lin takes a bit more time than Cahill but also offers a greater range of tempo and dynamics. Lin adds to her program all three possible versions of the challenging Piano Study in Mixed Accents (though they are listed in the booklet in the wrong order), and plays them perfectly.
The program concludes with The Adventures of Tom Thumb for narrator and piano, a delightful piece in the same vein as Prokofiev's Peter and the Wolf--or (more aptly) Poulenc's The Story of Babar the Little Elephant (dating from 1925, Tom Thumb actually precedes both chronologically). The composer's daughter, Peggy Seeger, completed the text especially for this recording, while Lin and narrator Timothy Jones enthusiastically chart the story's progress in words and tones. Toss in excellent recorded sound, very informative notes (though the tray card misidentifies some of the premieres), and the result is a 75-minute-long program that combines both revealing scholarship and care in repertoire selection with musicianship of the very highest caliber.
--David Hurwitz, ClassicsToday.com
CHIN, Gordon Shi-Wen: Double Concerto / Formosa Seasons
Works For Piano & Orchestra
Bach: The Brandenburg Duets / Bindman, Lin
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REVIEWS:
Beyond mere curiosities, these transcriptions allow for familiar works to be experienced in new and valid ways. Pianists Bindman and Lin make a great case for them.
– Fanfare
Only pianists of the highest caliber could deliver these performances. Nothing seemed out of place, and the phrasing and dynamic shaping of the lines were exceptional. This is a fresh look at some of Bach’s greatest works in piano arrangements that work quite well.
– American Record Guide
Montsalvatge: Canciones & Concertos / Lin, Barton Pine, Duchonova
March 2012 marks the 100th anniversary of the birth of Xavier Montsalvatge, one of the most important Spanish composers of the 20th century. Included on this anniversary CD are some of his finest pieces: the famous “Cinco canciones negras,” a poignant song cycle featuring infectious Latin American rhythms; the “Poem Concertante,” first championed by the internationally acclaimed violinist Henryk Szeryng, and the “Concierto breve” for piano and orchestra. This recording has assembled three world-class soloists: American pianist Jenny Lin, mezzo-soprano Lucia Duchonova, and American violinist Rachel Barton Pine.
Premonitions American Chamber Works
Three American Violin Sonatas / Cho-Liang Lin, Parker
Brazelton: Ecclesiastes
Tower: Violin Concerto… / Lin, Guerrero, Nashville Symphony
Review:
In the Violin Concerto the ear is caught by the constantly changing colours of the soloists interaction with different orchestral players. Violinist Cho-Liang Lin is lyrical and muscular as required, and his slender tone is well balanced with the excellent Nashville Symphony. The orchestra impresses also in two more recent pieces by Tower, and bears further witness to Tower's imaginative handling of instrumental coloring.
– BBC Music Magazine
Milestones / Christopher Lowry
This album features a program of great works for viola from the 21st Century. Violist Christopher Lowry is also a wonderful composer, and two of his works are featured here, along with works by Peter Dayton and Christopher Hallum. This is miles removed from the often hard-to-listen-to new music that is all-too prevalent. This music is immediately captivating. Hailing from Nashville, TN, Christopher Lowry is emerging as one of the leading violists and most performed composers of his generation. He is a two-time prize winner in the Lionel Tertis International Viola Competition, winning the "Jury Panel Prize" in 2016 and Yuri Bashmet's "President of the Jury Prize" in 2013. He has also won prizes in the Lewisville Lake Symphony International String Competition (2015), LSU Concerto Competition (2014, 2012), Marquette Symphony Concerto Competition (2014), Nashville Philharmonic Orchestra Concerto Competition (2012), Vanderbilt Concerto Competition (2008), ASTA National Solo Competition (2007), and the Eastern Music Festival Concerto Competition (2006), among many others.
Kallstrom: Flute Chamber Works, Vol. 2
Bond: Instruments of Revelation / Muller, Lin, Vinokur, Chicago Pro Musica
Victoria Bond is a distinguished force in contemporary music. She is known for her melodic and dramatic flair, and her orchestral works, chamber pieces and operas have been lauded by The New York Times as “powerful, stylistically varied and technically demanding.” This collection of world premiere recordings by Grammy Award-winning ensemble Chicago Pro Musica provides an essential overview of Bond’s multi-faceted inventiveness- from a musical interpretation of tarot cards in Instruments of Revelation, to descriptive and dramatic images of the tragic city of Pompeii in Frescoes and Ash. Leopold Bloom’s Homecoming expresses in music what is left to our imagination in James Joyce’s Ulysses, and the mathematics of Binary turn the digits 0 and 1 into variations on a Brazilian samba.
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