{"id":3298,"date":"2016-05-23T11:12:36","date_gmt":"2016-05-23T09:12:36","guid":{"rendered":"http:\/\/www.glm.de\/en\/?post_type=product&p=3298"},"modified":"2019-11-05T14:57:47","modified_gmt":"2019-11-05T12:57:47","slug":"lars-duppler-naked","status":"publish","type":"product","link":"https:\/\/www.glm.de\/en\/product\/lars-duppler-naked\/","title":{"rendered":"Lars Duppler – Naked"},"content":{"rendered":"

\u201cI wasn’t really naked. I simply didn’t have any clothes on,\u201d Josephine Baker once said. Known for his work with the Niels Klein, Jens D\u00fcppe or Nils W\u00fclker Ensembles, pianist Lars Duppler<\/strong> turns this bon mot on its head: he performs fully clothed and \u201cnaked\u201d at the same time. The twelve solo piano pieces on his new, fifth album reveal an impressive depth and enormous concentration which both thrills and calms alike. \u201cnaked is the logical answer to (my previous album) raetur\u201d, says Lars Duppler. \u201cAfter the rocking quartet it\u00b4s just my piano and me.\u201d \u00a0Duppler actually used three Steinway D grand pianos for the recording in DLF\u00b4s venerable chamber music hall. With ample breathing space and a deliberate, perfected yet subtle aesthetic, a richly varied cosmos of sound unfolds, which is as close to the late Romantic period as it is to the jazz of Paul Bley or John Taylor and the music of Frederic Mompou or Witold Lutoslawski. naked<\/strong> also sounds absolutely modern and yet so much more alive than mere electronic plink plonk from the electronic music scene, which only makes it more immediate.<\/p>\n

\u201cNaked\u201d and vulnerable as leitmotifs recur again and again in this production. Lars Duppler prepared for the recording by chance, alone at his Steinway every day, before the birth of his first daughter. He was also on his own during a stint at the Landesmusikakademie in Neuwied\u00a0 \u2013 no other ensembles, alone in a restaurant. His daily routine: practicing, writing, taking walks. He was alone again in the big recording hall, with no notes or feedback from colleagues, without other players\u00b4 solos or bass and drums keeping the rhythm.
\n\u201cIt was a throwback to the beginning\u201d, says Duppler. \u201cIt was very honest and completely new. \u00a0It was almost like only hearing your own voice on the answering machine all day or seeing yourself naked on a huge poster in the city center and passing by it a whole bunch of times a day.\u201d<\/p>\n

Six wonderfully original compositions, two very singular interpretations of Rodgers & Hammerstein\u00b4s standard \u201cMy Favorite Things\u201c and Irving Berlin\u00b4s “How Deep Is the Ocean”, as well as various, no less elaborate interludes (recorded with a seventies-era tape echo, operated manually and without the use of MIDIfication) unite on naked<\/strong> into a Gesamtkunstwerk with various currents and arcs of tension. One can concentrate on this music or listen casually, evenings or mornings and of course in every imaginable state of revelation \u2013 it fascinates and surprises anew.<\/p>\n","protected":false},"excerpt":{"rendered":"

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