Gershwin by Knight (Remaster) Hyperion Knight
- George Gershwin (1898-1937): Fantacy on Porgy and Bess
- 2Act I: Summertime03:02
- 3Act II: Oh, I can't sit down01:21
- 4Act I: My Man's Gone Now03:40
- 5Act II: I Got Plenty O' Nuttin'02:32
- 6Act II: Buzzard Song02:10
- 7Act II: It Ain't Necessarily So03:26
- 8Act II: Bess, You is My Woman Now04:11
- 9Act III: There's a Boat Dat's Leavin' Soon for New York02:19
- 10Act III: Oh Lawd, I'm on my way01:19
- Rhapsody in Blue
- 11Rhapsody in Blue (version for piano)13:51
- Girl Crazy: Embraceable you
- 12Girl Crazy: Embraceable you (version for piano)02:45
- Fascinating Rhythm
- 13Fascinating Rhythm (version for piano)01:40
- The Man I Love
- 14The Man I Love02:36
- Girl Crazy: I got rhythm
- 15Girl Crazy: I got rhythm (version for piano)02:08
Info for Gershwin by Knight (Remaster)
Knight is a pianist equally at home in serious classics and popular standards with recordings that range from Beethoven to the Beatles. Born in Berkeley, Calif., Knight was 19 when he graduated from the San Francisco Conservatory of Music. By 22, he had received both a Master’s degree and a Doctor of Musical Arts degree from the Cleveland Institute of Music, and was awarded the Arthur Loesser Prize, named for the Cleveland Institute of Music faculty member and classical pianist.
Knight, who lives in New York, specializes in virtuoso piano transcriptions in the tradition of Liszt and Horowitz. The publication Stereophile said he performed “with marvelous verve and spectacular confidence” on his recording of “Gershwin by Knight.”
'Not since Heifetz has anyone played 'Gershwin solos' with this much panache... the songs glitter like jewels against black satin.' (American Record Guide)
Hyperion Knight, piano
Recorded at Symphony Hall In Salt Lake City
Engineered by David A. Wilson
Mastered at Wilson Audio, Provo, Utah
Produced by Wilson Audiophile Recordings
This recording took place in December 1992 at Symphony Hall in Salt Lake City, Utah. The hall is noted for its clean acoustics, linear reverberation, and mid-range focus. As in most other Wilson Audio chamber and solo piano recordings, the perspective is close . . . as though the instruments are performing in your listening room.
The piano is a nine-foot Falcone— an instrummt of unusual beauty in its harmonic richness as well as its left hand power.
A spaced pair of omni-directional Schoeps microphones were used. This configuration yields a superbly accurate presentation of harmonics, timbres, and dynamics.
The microphone preamps, designed and built by John Curl, are sophisticated, fully class A, direct-coupled units.
The master tape was recorded on the UltramasterTM, Wilson Audio’s exclusive 30 ips analog recorder. This instrument, designed and built by John Curl, is fully direct-coupled, and exhibits a record/playback Frequency bandwidth of over 45 KHz. 3M 996 mastering tape was used. Location monitoring was on a pair of Wilson WATT III/ Puppy II precision loudspeakers powered by a Spectral DMA-80 amplifier. At Wilson Audio, master tapes, and refs were evaluated on both the WATT/Puppy and on the WAMM series VII, powered by a variety of amplifiers including Mark Levinson, Audio Research, Krell, Spectral, Jadis, Rowland and Audio Note. Excellent compatibility was realized with all of these designs.
This recording was made and mastered using the multi-patented CVT (Constant Velocity Transmission) technologies provided under license to Wilson Audio Specialties by MIT. The use of these technologies preserves details in the recording and mastering process that result in a record or CD with increased clarity and transparency. This ensures a more natural and lifelike representation of the original event. CVT and MIT are registered trademarks of Music Interface Technologies of Auburn, California.
Both analog and digital mastering were performed at Wilson Audio’s mastering facilities in Provo, Utah.
The Wilson Audio Disk Mastering facility combines a superbly crafted and carefully modified German (Neumann) lathe and cutterhead with totally custom designed electronics. The signal path scrupulously adheres to the audiophile maxim that “less is more.” Starting with a Studer A-80 mastering playbackdeck with Ultramaster TM electronics - and MIT CVT Proline Terminator Series cabling throughout, the Neuman SX-74 cutter head is driven by Audio Research V-140 hybrid triode vacuum tube amplifiers.
is a pianist with a romantic touch. Known for the diversity of his repertoire, he is equally at home in serious classics and popular standards. Hyperion's recordings range from Beethoven to the Beatles, and in addition to regular appearances with orchestras across the United States he has been a featured entertainer at Manhattan’s Rainbow Room and Essex House. A Gershwin enthusiast, Hyperion has made recordings devoted to unique arrangements of Gershwin’s music, and frequently performs both Rhapsody in Blue and the Concerto in F, most recently with the Santa Fe, Long Beach, Tennessee, St. Joseph, Greater Grand Forks, New Mexico and New Jersey Symphony Orchestras.
Other recent guest appearances include the Mozart Concerto #21 in C with the Utah Symphony, the Grieg Concerto with the Maui Pops Orchestra, and the Rachmaninoff Concerto #2 with the Kansas City Philharmonia and the Cleveland Philharmonic. Hyperion also makes frequent concert presentations on luxury cruise lines such as Silversea, Seabourn, Holland America and Celebrity. In 2013 he was given the honor of being named Silversea's "Entertainer of the Year".
Hyperion was born in Berkeley, California and graduated at age 19 from the San Francisco Conservatory of Music. By the age of 22 he had received both a Master’s degree and a Doctor of Musical Arts degree from the Cleveland Institute of Music, and he was awarded the Arthur Loesser Prize upon graduation. Hyperion now lives in New York where he studied with members of the Juilliard faculty and made his New York concerto debut playing the Saint-Saëns Piano Concerto #1. Hyperion's teachers have included Paul Hersh, Eunice Podis, Paul Schenly and Jerome Lowenthal.
Hyperion has made a specialty of virtuoso piano transcriptions in the tradition of Liszt and Horowitz. His album Gershwin by Knight, a collection of Gershwin song transcriptions and the solo arrangement of Rhapsody in Blue, was given a glowing review in the pages of Stereophile, whose critic exclaimed “Hyperion Knight plays with marvelous verve and spectacular confidence. Notes are never fumbled or blurred, yet the performance has swing and drive.” The Sensible Sound called his Gershwin “nothing short of astonishing.” The Magnificent Steinway, his CD of romantic piano transcriptions on the Golden String label, was called "one of the most enjoyable CD's of recent years" by CD Review, and Fi Magazine described Hyperion as a “daredevil atop his gleaming, black-and-ivory silken-voiced machine. Bravissimo!” Hyperion is also an enthusiast for the great performers of the past, and as a recognized authority on historical recordings he has published numerous articles about the great pianists and conductors of the twentieth century.