Willkommen, bienvenue, welcome!
There's lots to do here: music to listen to, videos to watch. You can find out about my CDs and how to get them. You can read about my upcoming concerts, and what's been written about my playing over the years.
I love writing and talking about music almost as much as performing, and some of my articles can be found here. Plus, of course, between the bio and the personal page, you'll learn a lot about what makes me me. (Hint: I take my work as seriously as anyone on earth, but have never been able to take myself too seriously.)
So grab a chair, pour yourself a glass of wine, bleibe, reste, stay, and enjoy!
(P.S. My friends call me Bob. Drop by again, and you can, too. More stuff gets added all the time.)
Click on news titles below to expand full post.
Long-lost Silverman Concerto Treasures Revived
- In 1978, Robert Silverman performed the world premiere of the Piano Concerto No. 2 by iconic Canadian composer Harry Somers with The Toronto Symphony. It is a gargantuan work in four movements, and a recording of that broadcast is now available from CentreDiscs.
- Also available is a 1990s video recording of Robert Silverman performing the Rachmaninoff 3rd piano concerto in Mexico City at the Mineria Festival to a four-minute stomping and standing ovation.
- In the late 1970s, Robert Silverman recorded the piano concerto by the late Vancouver composer Jean Coulthard. The richly Edwardian-romantic concerto was performed with the now defunct CBC Vancouver Orchestra. The master tape has been leased by the Canadian Music Centre and made available on-line.
Check out details of all three albums right now by clicking on "Robert's Discs" or click here.
Complete Mozart Sonatas (Now Available on Amazon)
After performing the complete sonatas of Mozart in Vancouver, San Francisco, Winnipeg and other cities, Robert Silverman spent a hectic week recording them all in high resolution digital multi-channel format, using Ray Kimber's fabled IsoMike© system. The set, which includes copious program notes by Silverman will be released in October 2009 on the IsoMike label.
Silverman has noted: "In many ways, performing and recording all the Mozart sonatas proved to be a greater challenge than my earlier Beethoven project. I have long held that Mozart's solo piano music is far greater and varied than it is often given credit for, and that Mozart the supreme dramatist is present here more than is generally acknowledged. Plus, in spite of all the authenticists who claim otherwise, he wrote for a primitive instrument that Beethoven himself disparaged only twenty years later. The problem of capturing the full range of Mozart's artistic expression on a modern instrument, but without treading on Brahms', Liszt's or even Beethoven's sonic territory led me to find new (to me at least) ways of approaching the keyboard."
To hear Robert's performance of the the C minor Fantasy, K. 475, as well as a taste of the uncannily life-like IsoMike sound quality, click here.
Upcoming in 2011: Variations by Brahms and Schumann
Robert Silverman's recording of the Brahms' Variations and Fugue on a Theme of Händel, Op. 24, and the first published version of Schumann's Symphonic Etudes, Op. 13 (1837) is in the final editing stages, and is due for release in the fall of 2011 on the Stereophile label. The album will also include Schumann's five posthumous variations, plus an early unpublished version of the theme.
To hear a few selections of this album, click here.
As Silverman puts it: "I was intrigued by pairing the romantic era's two greatest sets of variations for piano. Although the two composers admired each other enormously, their styles could not be more different: Schumann followed Beethoven's philosophy of expanding each form he explored, and never more so in the variation form than here, whereas Brahms' set looks backwards in so many ways: the choice of a Baroque theme, the inclusion of a Fugue, and the retention of the theme's basic outline in each variation. Still, within those parameters, the variety of treatment the theme receives, the richness of Brahms’ harmonic language, his flawless, subtle sense of pacing, all climaxed by the sheer, overwhelming power of the fugue, contribute to making this work one of the monuments of 19th-century piano music."
Who's who: Robert, Erick Lichte (producer), Dennis Chupp (Steinway technician extraordinaire), John Atkinson (recording engineer, musician, and in his spare time, Editor-in-Chief of Stereophile Magazine).