LOVE in London

£12.00

In the second release from his new own-label Instrumental Records, the inimitable James Rhodes performs live in an intimate concert recorded at the Arts Theatre, London.

Featuring:

Prelude in C Sharp Minor, Op.3 No.2 — Sergei Rachmaninoff
Etude Tableau in E-Flat minor, Op.39 — Sergei Rachmaninoff
No.5 Widmung — Schumann—Liszt
Montagues and Capulets — Sergei Prokofiev
Orfeo Melody — Gluck—Sgambati
Presto, from Sonata No.3 in B minor, Op.58 —  Frederic Chopin
Scherzo No.2, Op.31 — Frederic Chopin
Beethoven parody — Dudley Moore
Adagio, from Concerto No.3 in D minor, BWV 974 — Bach—Marcello
In the Hall of the Mountain King — Grieg—Ginzburg

SKU: SIGDVD012

What people are saying

"Like the chamber music concerts in bars and cafes movement, Rhodes is creating a whole new audience for classical music. (If I had known it was possible to present a piano concert this way I might have worked harder persuing a career as a concert pianist.)" Audiophile Audition

James Rhodes

Release date:25th Aug 2014
Order code:SIGDVD012
Barcode: 635212001295

Rhodes recorded this intimate concert at the Arts Theatre in the West End of London. He’s always been a fan of doing classical slightly differently, and that he does here. First, he wears an old T-shirt and looks like he hasn’t shaved for a week. His distinctive approach to how the usual classical piano repertory should be presented has him communicating directly with the audience between each of the above short selections, almost like a standup. He talks about the composers, their lives, and his own life experiences. The latter includes sexual abuse and several months in a psychiatric ward for his severe depression. Here’s my review of his earlier DVD.

It wasn’t until 2008 that he met an agent who got him to express himself and record his first album, and it’s been upward and onward since then. He says what turned him around was talking with an Irish doctor who instead of just giving him a long list of meds and psychobabble, spoke to him directly and openly. His language is peppered with f***s and his audience is obviously younger fans who go crazy between each selection, whistling and shouting. (I wondered why the sleeve had a warning: “Caution – Explicit Language.”) His performances are not perfect, but deeply felt and beautifully introduced. The loveliest melody of the Baroque period—an arrangement of the melody from Orfeo by Gluck—is a highlight, as is the first of two encores: the terrific Beethoven parody by the late British comedian/actor/pianist Dudley Moore. Like the chamber music concerts in bars and cafes movement, Rhodes is creating a whole new audience for classical music. (If I had known it was possible to present a piano concert this way I might have worked harder persuing a career as a concert pianist.)

 

Audiophile Audition, John Sunier