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This CD contains recordings of David Bennett Thomas' four piano sonatas, a set of short etudes, and a large work for two pianos. They are performed by some of the finest pianists in the Philadelphia area.
Genre:
Classical: Contemporary
Release Date:
2010
Piano Works 2001-2009
David Bennett Thomas
© Copyright-David Bennett Thomas
(659696229624)
Record Label: DBT
SPECIAL: 10% discount if you buy more than one copy of it today!
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1. Piano Sonata No. 3: I. Allegro con moto (Feat. Carl Cranmer) |
6:07 |
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2. Piano Sonata No. 3: II. Adagio (Feat. Carl Cranmer) |
5:05 |
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3. Piano Sonata No. 3: III. Vivace (Feat. Carl Cranmer) |
2:20 |
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4. Piano Sonata No. 3: IV. Allegro con brio (Feat. Carl Cranmer) |
3:12 |
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5. Piano Sonata No. 4: I. Harrowing, and a bit maniacal (Feat. Carl Cranmer) |
5:04 |
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6. Piano Sonata No. 4: II. Ruminations on a Liszt chord (Feat. Carl Cranmer) |
4:27 |
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7. Piano Sonata No. 4: III. Fugue (Feat. Carl Cranmer) |
4:50 |
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8. Four Etudes: I. Wind-etude (Feat. Matthew Bengtson) |
1:20 |
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9. Four Etudes: II. For RCS (Feat. Matthew Bengtson) |
0:52 |
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10. Four Etudes: III. Intermezzo (Feat. Matthew Bengtson) |
3:15 |
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11. Four Etudes: IV. Ridl-etude (Feat. Matthew Bengtson) |
1:36 |
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12. Conundrum (for two pianos) (Feat. Charles Abramovic & Matthew Bengtson) |
13:15 |
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13. Piano Sonata No. 1: I. Allegretto con moto (Feat. Gary Gress) |
2:22 |
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14. Piano Sonata No. 1: II. Moderato/Allegro/Adagio (Feat. Gary Gress) |
3:58 |
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15. Piano Sonata No. 1: III. Moderato (Feat. Gary Gress) |
5:30 |
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16. Piano Sonata No. 1: IV. Allegro con brio (Feat. Gary Gress) |
3:12 |
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17. Piano Sonata No. 2 (Feat. Matthew Bengtson) |
10:29 |
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The pieces on this CD span from 2001-2009. Thomas' music has been described as such:
“The chamber works of David Bennett Thomas may be categorized as neo-Romantic, neo-tonal, or even as a kind of sophisticated ‘fusion classical’ but these terms by themselves are inadequate to describe the complex mixtures of elements in his music. His strongest pieces reveal both modernist influences and contemporary applications, though blended to sound original and whole, not like self-concious parodies or pastiches. Thomas is shrewd enough not to wear his influences on his sleeve, and these presumed sources are reworked with jazz harmonies and influences in an idiosyncratic but distinctive post-modern approach.”
—All Media Guide
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