Eliza Garth

the enchanted piano

Widely regarded as an artist with a passionate voice and an adventurous spirit, pianist ELIZA GARTH has championed some of the most demanding works in the repertoire. Among these are the complete solo piano works of the Pulitzer Prize-winning composer Donald Martino, which she has recorded on two nationally acclaimed CDs for the Centaur label.

A graduate of the Juilliard School, Ms. Garth is a founding member of the Chamber Players of the League of Composers/ISCM in New York City, and is in frequent demand as a guest artist. She is a member of the music faculty at St. Mary’s College of Maryland.

She has been recognized twice by the Maryland State Arts Council with the Individual Artist Award, most recently in 2010 for her performance of John Cage’s Sonatas and Interludes.

Tour de Force: review in Kathodlk

...from Kathodlk:

As the title of this newest release by Albany Records promises, it is a real tour de force for  the bravissima American pianist Eliza Garth. The series of thirteen preludes written by Sheree Clement over almost forty years (!) surprisingly draw a rather uniform parable, characterized by a progressive traversal beyond the boundaries of tonality to arrive at a harmonically harsh language, though not without moments of contemplative and introspective beauty. La Clement loves to work with quick figures of notes that run in very complex rhythmic passages, to be often hampered by abrupt interruptions or impervious detours. If I had to mention a reference for these works, I would summon Elliott Carter's Night Fantasies. Equally virtuosic, although very distant from the stylistic point of view, is the composition Of Points Fixed and Fluid by Perry Goldstein, an author who likes to juxtapose musical materials of a different character and style, sometimes opposite - in the manner of Stravinsky or, more recently, Fitkin -, developing them separately and then colliding them, triggering dense and tension-rich dynamics. In this case, the contrast is between a hypnotic sequence of repeated notes and a set of syncopated figures that recall jazz. The way in which Goldstein applies this technique is personal and remarkable, as demonstrated also in other previous compositions (I am thinking, for example, of the Blow saxophone quartet). In this case, the conclusion is less pacified and leaves something (deliberately) unresolved, even in the context of a precise formal design. Eliza Garth moves at ease in such diverse expressive worlds, which demonstrate the vitality of contemporary music, especially American, for piano.

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