StarkLinnemann - Transcending Beethoven 1, 2, 3

Volume 1 (UCM Records, 2020); Volume 2 (UCM Records, 2020); Volume 3 (UCM Records, 2024)

StarkLinnemann is the franchise name for bands fronted by classical pianist and musicologist Paul Stark and drummer/percussionist Jonas Linnemann. The two have been working together for the past decade, concentrating most their attention on jazz interpretations of classical compositions. The band’s catalog addresses the music of Chopin, Liszt, and Mussorgsky. Since 2020, add Beethoven to this list. Already released are Transcending Beethoven, Volume 1 - Piano Sonata Opus 28 “Pastorale” and Transcending Beethoven, Volume 2 - Cello Sonata Opus 69, with their Transcending Beethoven, Volume 3 - Symphony No. 3 Opus 55 “Eroica” forthcoming.

StarkLimmemann is not the first jazz ensemble to reimagine classical music. The Jacques Loussier Trio spent the better part of 60 years doing so on Decca, Philips, and Telarc labels. StarkLinnemann do not restrict themselves only to the jazz trio format, expanding their ensemble as necessary.

While not required, listeners will benefit from familiarity with the classical performances of these pieces, as this will reveal the accomplishment of these inventive reimaginings.

Jacquelien Wielaard

StarkLinnemann
Transcending Beethoven, Volume 1 - Piano Sonata Opus 28 “Pastorale”
(UCM Records, 2020)

Beethoven published his Piano Sonata in D major, No. 15, Opus 28 in 1801. Traditionally, this sonata marks the end of the composer’s early sonatas, immediately following his better known Piano Sonata in C-sharp minor, No. 14, Opus 27, the “Moonlight Sonata.” For Volume 1 of this series, Stark and Linneman fill out a traditional piano trio with bassist Maciej Domaradzki. Within this traditional jazz unit, the first movement opens playfully with light, quick sounds and simple, cheerful tunes, immediately setting a scene of discovering a natural, perhaps rural, backdrop. Soon, a gentle piano figure introduces the first light of day. The bass and drums subtly establish the underlying rhythm and harmony, gradually intensifying, while remaining elusively delicate. A percussive pattern builds initial excitement, allowing a smooth tempo increase.

The slower 'andante' section evokes a bluesy, melancholic mood, continuing the unfolding narrative. The energetic 'scherzo et trio' bursts forth with rapid, dynamic moments, including a drum solo. Finally, the 'rondo' revisits earlier playful sounds, suggesting a potential for even greater exuberance. Despite the performers' clear technical skill, the piece prioritizes a natural, 'pastoral' feel over flashy displays, creating a constant sense of engagement through impulsive musical interactions. All of this from a simple trio format. The charm of this band is already clear.

Jacquelien Wielaard

StarkLinnemann
Transcending Beethoven, Volume 2 - Cello Sonata Opus 69
(UCM Records, 2020)

Starting with the core trio appearing in Volume 1, the band becomes a quartet, adding multi-reedist Iman Sopaargaren, opening the sonic bouquet of Beethoven’s Cello Sonata No. 3 in A major. This change reflects a fascinating contrast with Volume 1, marked by Sopaargaren’s presence. The saxophonist/clarinetist introduces a classical element without curtailing the inherent power of the jazz influence. In the first movement, the ensemble seamlessly moves between these two styles, consistently maintaining a jazz foundation. As the album progresses, the musicians weave subtle Afro-Cubano rhythms into the fabric. The Scherzo stands out as a restrained and introspective moment, directly reflecting the "Amid Tears And Sorrow" subtitle of the piece. The final rondo detonates, revealing synergistic energy, featuring Spaargaren's exuberant playing as he propels the piece deep into hard bop territory.

Jacquelien Wielaard

StarkLinnemann
Transcending Beethoven, Volume 3 - Symphony No. 3 Opus 55 “Eroica”
(UCM Records, 2024)

By this third volume, a postmodern theme of pluralism and eclecticism emerges. Rubbing jazz and classical aesthetics together produces a warm recognition of the whole, an eclectic mixture of musical elements that complement one another. The quartet on Volume 2 expands to a quintet on StarkLinnemann’s largest project addressing Beethoven’s Third Symphony. Anton Boiarskikh’s tart trombone adds a low brass foundation to the band, giving the ensemble a small-group Carla Bley sound. The group challenges the listener to enter their sound labyrinth to find the harmonic and melodic elements of the Eroica.

It is pianist Stark who universally imagines the piece, fancily deconstructing and reconstruction the themes of the first movement. This gives way to drummer Linnemann and bassist Domaradzki rhythm-section dominance of the Funeral March. Boiarskikh and Sopaargaren fill out Stark’s vision in the third and fourth movements, adding mass and density to the newly emergent elements of this classical-jazz mashup.