Six new sonatas.
Six outstanding soloists – teaming up with multitalented composer-pianist Ethan Iverson.
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From the press release:
Ethan Iverson Announces New Album: Playfair Sonatas
Cover art by Roz Chast
with Miranda Cuckson, violin; Makoto Nakura, marimba; Carol McGonnell, clarinet; Mike Lormand, trombone; Taimur Sullivan, saxophone; and Tim Leopold, trumpet
Release Date on Urlicht AudioVisual: November 15, 2024
Pianist, composer, and writer Ethan Iverson will release his next album Playfair Sonatas digitally and as a 2-CD set on November 15, 2024 via the Urlicht AudioVisual label. Playfair Sonatas features six sonatas composed by Iverson for six different instruments and piano, and recorded by Iverson with some of today’s most vibrant classical performers – Miranda Cuckson, violin; Makoto Nakura, marimba; Carol McGonnell, clarinet; Mike Lormand, trombone; Taimur Sullivan, saxophone; and Tim Leopold, trumpet. The album is bookended by a Fanfare and Recessional performed by the whole ensemble.
Playfair Sonatas was born in 2020 during the pandemic, when Iverson met curator, producer, and frequent commissioner of new work Piers Playfair for a summertime outdoor dinner. Like most musicians that year, Iverson had downsized and was concerned about making a baseline income. He had recently moved and rented a smaller, cheaper studio, and when Playfair asked if there was anything he could help with, Iverson replied, “Yeah, I’d love to cover the studio rent for a few months.” The two agreed that in exchange for six months of rent, Iverson would write six sonatas, and that Playfair would be allowed to choose the instrumentation.
Writing these Playfair Sonatas led Iverson to composing larger works, including his Piano Sonata, recently recorded as part of his album Technically Acceptable on the Blue Note label. Seth Colter Walls wrote of the piece in The New York Times, “Classical in conception… it also contains traces of crunchy harmonic modernism and the bumptious sounds of vintage American jazz styles.”
Iverson’s Playfair Sonatas similarly showcase this signature approach. The sonatas intertwine 21st-century jazz gestures with the formal structures of Beethoven, Mozart, and Haydn. While the outer movements are titled with traditional tempo indications (Allegro, Rondo, Scherzo, and similar), the middle movements of each work are dedicated to an artist whose work blended jazz and classical.
“These dedications came about late in the game,” says Iverson. “I had scrapped a previous Adagio for clarinet, and wrote a new middle movement I really liked. However, was this ‘oom-pah’ rhythm too much like one of Carla Bley’s amusing ‘music hall’ pieces? Well, what if I dedicated the movement to her? That would fix the issue of appropriation. As it turned out, Carla passed away the same day I finished ‘Music Hall’ and devised the ‘dedications’ stratagem. The other five salutations to Ornette Coleman, Eric Dolphy, Paul Desmond, Joe Wilder, and Roswell Rudd came easily, for they had been in the back of my mind the whole time.”
Piers Playfair adds, “It’s cool that out of a Covid dinner we were able to put a project together that so encapsulates one of our joint core beliefs, that the divisions that divide music, such as jazz, classical, blues etc, into neat little boxes are really just names that people put on them and shouldn’t define the artists.”
“Ethan and Piers assembled an absolute dream team of soloists, each of who brought their A game to Oktaven Audio for two days of amazing and inspiring music-making,” says producer Gene Gaudette. “The recording sessions were spirited, crackling with energy, and seemed to fly by in the blink of an eye. The Playfair Sonatas are such terrific music – engaging, witty, and still fresh even after multiple hearings. They will no doubt find not only a wide listening audience via this recording but surely be embraced by players looking for new, challenging, genre-crossing repertoire.”
• Read Ethan Iverson’s notes on each of the Playfair Sonatas, including the dedication movements, here.
• Alongside the album, Iverson will publish the scores for all of the Playfair Sonatas, making them available to interested musicians free of charge.
• Listen to Movement II, “Music Hall (for Carla Bley)” from the Clarinet Sonata and follow along with the score:
• Playfair Sonatas are commissioned by Piers Playfair and 23Arts Initiative.
• The album is released worldwide on Gene Gaudette’s Ulricht AudioVisual label.
About Ethan Iverson:
Pianist, composer, and writer Ethan Iverson was a founding member of The Bad Plus, a game-changing collective with Reid Anderson and David King. The New York Times called TBP “Better than anyone at melding the sensibilities of post-60’s jazz and indie rock.” During his 17-year tenure, TBP performed in venues as diverse as the Village Vanguard, Carnegie Hall, and Bonnaroo; collaborated with Joshua Redman, Bill Frisell, and the Mark Morris Dance Group; and created a faithful arrangement of Igor Stravinsky’s The Rite of Spring and a radical reinvention of Ornette Coleman’s Science Fiction.
Since leaving TBP, Iverson has released critically-acclaimed jazz albums on ECM and Blue Note, often accompanied by bonafide jazz stars such as Tom Harrell or Jack DeJohnette. Downbeat has called Iverson “A master of melody” while Hot House recently raved, “Known for his intellectual depth and adventurous musical spirit, Ethan Iverson has traversed the boundaries of jazz tradition while leaving an indelible mark on its evolution.” After witnessing a 2024 concert of standards spontaneously chosen by the audience, Stereophile wrote, “Iverson is a natural, consistent crowd-pleaser. For his entire career, he has been finding ways to be accessible while pushing the envelope.”
Iverson holds down the piano chair in the critically acclaimed Billy Hart quartet and has recorded with other elder statesmen like Albert “Tootie” Heath and Ron Carter. In terms of performing classical music, Iverson has accompanied Mark Padmore in Schubert’s Winterreise and Johnny Gandelsman in the three Brahms Violin Sonatas.
On top of his activities as a pianist and composer, Iverson has an active career as a writer, publishing significant criticism in The Nation, JazzTimes, The New York Times, and the Culture Desk of The New Yorker. He also posts frequently on his Substack, Transitional Technology.
About the Instrumentalists:
Miranda Cuckson, violin: www.mirandacuckson.com
Makoto Nakura, marimba: www.makotonakura.com
Carol McGonnell, clarinet: www.carolmcgonnell.com
Mike Lormand, trombone: www.deviantseptet.com/mike-lormand
Taimur Sullivan, saxophone: www.taimursullivan.com
Tim Leopold, trumpet: www.mostlymodernfestival.org/tim-leopold-trumpet
Playfair Sonatas
Music by Ethan Iverson
Fanfare – The Ensemble
Violin Sonata – Miranda Cuckson, violin • Ethan Iverson, piano
Marimba Sonata – Makoto Nakura, marimba • Ethan Iverson, piano
Clarinet Sonata – Carol McGonnell, clarinet • Ethan Iverson, piano
Trombone Sonata – Mike Lormand, trombone • Ethan Iverson, piano
Alto Saxophone Sonata – Taimur Sullivan, saxophone • Ethan Iverson, piano
Trumpet Sonata – Tim Leopold, trumpet • Ethan Iverson, piano
Recessional – The Ensemble
Ulricht AudioVisual | Release Date: November 15, 2024
Recorded December 2 & 3, 2023 at Oktaven Audio, Mount Vernon, NY
Recording engineer: Ryan Streber
Piano technician: Shane Hoshino
Edited by Ryan Streber and Gene Gaudette
Produced by Gene Gaudette
Executive producer: Piers Playfair
Cover art: Roz Chast
Alfred Brendel’s first recordings were made in early 1950s Vienna forindependent American labels – Period, Vox, and the short-lived SPA label, for whom Brendel made four LP recordings of rare repertoire that he would not record again, discs that have long been prized by lovers of piano music.
Shortly after our joint performances of the Kodály Duo in Sofia and in Varna, I was able to leave Bulgaria in a daring escape, made possible by an administrative mistake. The communist passport officials erroneously had granted me exit documents for traveling to Germany, but despite quickly realizing their mistake and attempting to call me back to their office, they were just a bit late in their timing, and I managed to slip out of the country. From Germany I easily made it to America, where I had been invited to teach at Indiana University, as one of Josef Gingold’s assistants. ”
This recording is coupled with a new remastering of Starker’s landmark 1950 recording of Kodály’s Sonata for Solo Cello, restored especially for this release.
