Homages & Remembrances
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A sizzling Mussorgsky coupled with new and older works for piano.

Pianist James Adler has recorded a recital that pays homage to people who have been great influences and offers musical remembrances of important people in his life. The longest work on the program, Pictures at an Exhibition is dedicated to his mother and his aunt, both of whom encouraged him in his pursuit of music. James Adler is a pianist who "can create whatever type of music he wants at the keyboard" (Chicago Sun-Times) and a composer who writes "with uncommon imagination" (Atlanta Journal-Constitution). Mr. Adler made his orchestral performing debut with the Chicago Symphony Orchestra and has appeared in recital at famous venues around the world. His discography includes recordings on the Albany, Capstone, Navona, and Ravello record labels.
Paul Turok, composer
James Adler (piano)

Wolfgang Amadeus Mozart, composer
Piano Sonata No. 9 in D Major, K.331
James Adler (piano)

Claude Debussy, composer
Deux Arabesques, L.66
James Adler (piano)

James Adler, composer
Elegy for Norman
James Adler (piano)

Henco Espag, composer
James Adler (piano)

Modeste Mussorgsky, composer
Pictures at an Exhibition
James Adler (piano)

"James Adler plays in an incredibly imaginative way…" (Pizzicato)

"Mussorgsky’s 'Pictures at an Exhibition'…gets an absolutely first-rate rendition here… he grasps the essence of each miniature and presents it with skill and refinement." (Infodad)

"Composer, pianist, and educator James Adler, with close ties to the Lesbian & Gay Big Apple Corps (LGBAC) Symphonic Band and Queer Urban Orchestra (QUO), for which his life partner Scott Oaks plays flute, has a magnificent new CD, “Homages & Remembrances,” just issued by Albany Records…Here Adler plays works by late colleagues, tributes to departed siblings, and classic favorites, which also reflect the theme of “Homages & Remembrances.” …This brings us to Adler’s bravura performance of the vastest piece here, Modest Mussorgsky’s massive “Pictures at an Exhibition,” its composer’s remembrance of his late young artist friend, Victor-Edouard Hartmann…In the Great Gate of Kiev, Adler grandly realizes the monumental structure, designed by Hartmann, but never built, with strains of a Russian Orthodox hymn and triumphant bells tolling, comparable to the Coronation prologue to Mussorgsky’s “Boris Godunov,” and standing as an overwhelming climax to this powerful piano recital." ((Q)onStage)
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