A Siena Pianoforte Sampler: A Forgotten Gem That Still Kicks Ass
Alright, let’s get this straight—A Siena Pianoforte Sampler isn’t your typical snooze-fest classical album. Released way back in 1957 under Counterpoint Records (yeah, that little label trying to make waves in the USA and Canada), this thing hits different. It’s raw, unfiltered, and doesn’t give a damn about fitting into some polished box. And honestly? That’s why it works.
First off, you got "Leyenda." Holy crap, this track slaps. If you’re not familiar, “Leyenda” is basically guitar god territory, but here they flip it on its head with piano wizardry. The player hammers those keys like their life depends on it, building tension until you’re just sitting there like, what even is air? You feel every note punch through your chest—it’s primal, chaotic, beautiful. I remember listening to this late one night when my brain was fried from work, and suddenly, bam! My stress melted away because this piece doesn’t just play; it fights back.
Then there’s “Turkish March.” Yeah, yeah, everyone knows Mozart’s banger, but this version? Different beast entirely. They don’t just replay the original—they tear it apart and rebuild it with attitude. It’s faster, sharper, almost mocking the classic while still paying homage. There’s something rebellious about how the pianist nails those staccato runs—it’s like hearing an old story told by someone who actually gives a shit. Every time I hear it, I wanna grab a sword and storm a castle or something ridiculous like that. Over-the-top? Sure. But so is the track.
The rest of the album ain’t bad either. Tracks like “Children’s Corner” bring the calm after the chaos, though personally, I could do without “Punch; The Witch Doll”—felt kinda meh compared to the fire elsewhere. And don’t get me started on “Variations on Greensleeves,” which swings between genius and kinda boring depending on the day. But hey, no album’s perfect, right?
Here’s the kicker: for all its highs and lows, A Siena Pianoforte Sampler feels alive. Like, really alive. Most albums from ’57 sound dusty and distant now, but this one punches through the decades like it’s saying, “Hey, loser, pay attention!” Maybe that’s why it sticks with me. Or maybe it’s just proof that music doesn’t need to follow rules to kick ass.
So yeah, go listen to it if you can find it. Just don’t blame me if “Leyenda” makes you wanna smash stuff—or compose a symphony. Either way, you’ve been warned.
