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Perpetual Motion

Meyer, Edgar (Composer), Glennie, Evelyn (Composer), Bell, Joshua (Composer), Format: Audio CD

112 ratings

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Track Listings

1	Keyboard Sonata in C Major (K. 159, L. 104)
2	Two-Part Invention No. 13 (BWV 784)
3	Doctor Gradus ad Parnassum from Children's Corner
4	Mazurkas, Op. 59: No. 3 in F-Sharp Minor - John Williams
5	Prélude from Partita No. 3 for Solo Violin (BWV 1006)
6	Etude in C-sharp minor, Op. 10, No. 4
7	Mazurka in F-sharp minor, Op. 6, No. 1
8	Three-Part Invention (Sinfonia) No. 10 (BWV 796)
9	Melody in E-flat
10	Presto in G minor I after Bach from Five Studies for Piano arrangement of J.S. Bach: Finale from Solo Violin Sonata (BWV 1001)
11	Prélude from Suite for Unaccompanied Cello No. 1 (BWV 1007)
12	Three-Part Invention (Sinfonia) No. 15 (BWV 801)
13	Moto Perpetuo, Op. 11, No. 2
14	Keyboard Sonata in D minor (K. 213, L. 108)
15	Two-Part Invention No. 6 (BWV 777)
16	Adagio sostenuto from Piano Sonata No. 14 in C-sharp minor, Op. 27, No. 2 "Moonlight"
17	Two-Part Invention No. 11 (BWV 782)
18	Seven Variations on "God Save the King" - John Williams
19	Three-Part Invention (Sinfonia) No. 7 (BWV 793)
20	Moto Perpetuo, Op. 11, No. 2 (Bluegrass version)

Editorial Reviews

Product description

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Bela Fleck is one of the greatest five-string banjo players performing today. Beginning in the 1970s, he honed his lightning-fast chops performing bluegrass, then moved on to contemporary jazz and fusion sounds. With this album, he broadens his horizons once again by performing an entire program of classical music transcriptions. Reminiscent of classical guitar albums by John Williams (who makes a guest appearance here), the disc traverses a wide range of repertoire--from Chopin mazurkas to Bach's Two and Three Part Inventions. Throughout, Fleck displays a feathery touch on his banjo, and his instrument offers a pleasant, brassy tone with very little twang. The technique he displays on Perpetual Motion is astounding and a refreshing change of pace from the smooth grooves found on the banjoist's Flecktones recordings. The arrangements are generally minimalist and understated, but violinist Joshua Bell, bassist Edgar Meyer, mandolinist Chris Thile, and percussionist Evelyn Glennie join in on this groundbreaking disc. Bluegrass purists may be disappointed (this is a far cry from the free-spirited, folksy abandon found on Sony's Short Trip Home and Appalachian Journey CDs), but classical fans will be astounded by how perfectly natural Fleck's banjo sounds on these works. --Jason Verlinde

Product details

Is Discontinued By Manufacturer ‏ : ‎ No
Language ‏ : ‎ English
Product Dimensions ‏ : ‎ 5.62 x 4.92 x 0.33 inches; 3.84 Ounces
Manufacturer ‏ : ‎ SONY MASTERWORKS
Item model number ‏ : ‎ 2110932
Original Release Date ‏ : ‎ 2001
Run time ‏ : ‎ 59 minutes
Date First Available ‏ : ‎ December 7, 2006
Label ‏ : ‎ SONY MASTERWORKS
ASIN ‏ : ‎ B00005OSX6
Number of discs ‏ : ‎ 1

Best Sellers Rank: #77,839 in CDs & Vinyl (See Top 100 in CDs & Vinyl)
- #152 in Classical Sonatinas
- #258 in Jam Bands (CDs & Vinyl)
- #297 in Classical Suites

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112 ratings

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Stereo Geek

Classical Banjo an Oxymoron? NO!

Reviewed in the United States on October 9, 2001

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I bought this CD on the strength of a very positive review in the Chicago Tribune a few weeks prior to its release. I am both a classical music and a bluegrass fan, and I think, for the most part, this disc is fantastic -- the most successful attempt to merge the banjo and classical music to date. (Yes, there have been others!) I'd give it 4.5 stars if I could, or an A-.
On the positive side: If anyone has the chops to pull this off, Fleck does. His technical proficiency is mind-boggling, but his virtuosity never draws undue attention to itself. His instrument is miked a bit distant and echoey for my taste, but that was probably done to minimize the twang. In addition, even in the lively pieces, his touch is on the light side, probably for the same reason. The Bach & Scarlatti pieces fare best, in the sense that the pieces sound like they could have been originally written for the banjo. The more "romantic" pieces that might rely more on rubato and the piano pedal for maximum expressiveness, such as the first movement of Beethoven's Moonlight Sonata, just sound odd to me, despite the beautiful duet arrangement. In fact, nearly all of the contributing musicians here do a remarkably sensitive job in putting the banjo in a more comfortably classical context.
I've heard other attempts at "classical banjo" before, and the overwhelming impression I've gotten was that they shouldn't have bothered. On this disc, after the first few seconds where you might be thinking the same thing, that initial impression vanishes quickly, and you're just struck by the sheer inventiveness and musicality of it all.

12 people found this helpful

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Nettie Scott

Another magical crossover!

Reviewed in the United States on November 10, 2001

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In times when we see many classical musicians crossing over into popular music it is refreshing to see someone like Bela Fleck moving from pop to classical. There is a delightful group of folks flitting like fireflies from one genre to another, pulling and tugging us along as they explore musical diversity. Fleck is one of them. I first heard Fleck in Anchorage about four or five years ago and loved the funky,energetic sound of the Flecktones. Listening to his performances on various CDs I've come to appreciate both his playing and his compositions--and have especially enjoyed being introduced to the musical inventiveness of not only Fleck, but also others such as Mike Marshall, Sam Bush, Edgar Meyer, Jerry Douglas, Darol Anger, Mark O'Connor, Yo Yo Ma, and Joshua Bell. Like Fleck they refuse to be categorized, whizzing off in new directions defying my efforts to categorize their artisty.

This is an enchanting CD that will hopefully introduce Fleck fans to the joys of classical music. The earliest music is perhaps the best on this CD, particularly the Bach. The banjo and the mandolin raced at blinding speeds, but stayed true to the clean, spare intelligence of the compositions. Each instrument provided unique color and texture and some surprises as they interpreted these mostly familiar short pieces. A few pieces were not as well served by this unusual chamber group, but they were still enjoyable.

All in all a pleasant collection.

17 people found this helpful

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jimnypivo

Amazing and beautiful

Reviewed in the United States on January 2, 2007

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Fleck's 2001 disc `Perpetual Motion' is by far his most ambitious foray into virtuosity, performing classical works by Bach, Scarlatti and Chopin.

And he does it without really showing off. He only tackles mazurkas, fugues and Bach classical inventions on the five-string banjo, a simple instrument for which this music was never conceived.

I once flirted with playing the banjo, and it wasn't an easy task, even trying to play 'Uncle Pen'.

But the man must be possessed to play it like Bela does. Alternating between delicate and complicated, slow to fast, Fleck gets about as much out of the humble banjo as anyone possibly could. He plays it precisely and with a light touch, with respect for the music and his instrument.

Some reviewers think it pretentious of Fleck to attempt a banjo foray into the classical genre. That's bunk. How is virtuosity measured, after all? By playing many genres: classical, bluegrass, pop, jazz, Indian, fusion. And by playing them well.

Fleck wasn't awarded a Grammy for this recording just by looking pretty. He earned it.

2 people found this helpful

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Julia Albath

It made my 96 year old grandmother smiler for the first time in month

Reviewed in the United States on August 16, 2013

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Do you have a grandmother? Well, one of mine is still alive at 96 years old.

Grandpa recently died at 98. Except for a short business trip and the war, they never really spend much time apart. So she's alone. I frequently call her and do my best to keep her entertained in the mean time.

So when I mentioned that I am now playing the banjo, my "Omi" exclaimed "I liebe das Banjo".

Of course I send her a couple of CD of "Bela and the Flecktones" but I didn't hear to much from her about that.

Knowing the liked classical music, so when I discovered this CD I had to get it.

The next time we talked, I asked her about it and she excitedly told me how even her doctor asked about it when she saw them for a visit.

I hear the smile in her voice and it it made my day.

One person found this helpful

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Larry W. Mayes

this hope it was an incentive to play the instrument that he said he loved!

Reviewed in the United States on October 22, 2018

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Gave it to my doctor who first got me on my road to recovery from. A surgeon's hand ought not be used on string instruments that would put callouses on sensitive fingers. Since he was retiring, this hope it was an incentive to play the instrument that he said he loved!

One person found this helpful

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Jerry Wilson

Excellent concept and great banjo, but...

Reviewed in the United States on August 7, 2003

Verified Purchase

Well, it's not news that Bela Fleck is a banjo virtuoso. And the fact that he has adapted the banjo to the Classical genre is nothing less than awsome. The music on this CD is absolutely superb and unique.
However, what would make the selections even better, in my opinion, would be if Fleck used more accompaniment, perhaps even being backed by a full orchestra. The banjo, being a tenor instrument, needs bass to balance it out. Some of the selections have adequate bass, but most do not. Some have no instrumentation at all other than Fleck's banjo. Somehow, it lacks depth.
Still, I can't help but recommend this CD, especially to Bela Fleck fans. It's really something special.

6 people found this helpful

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Cephas

STUNNING VIRTUOSO PERFORMANCE- A DELIGHT TO THE EAR

Reviewed in the United Kingdom on April 11, 2014

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Aly Bain, one of the two musical directors of the BBC's wonderful "Transatlantic Sessions", when speaking about the high level of technical difficulty there is in playing Bluegrass music, says that many Bluegrass musicians "Practice Bach". Bela Fleck is a Bluegrass musician "par excellence" who happens to play banjo. Forget the comical image that the banjo has in the minds of many. This album is a showcase of brilliant classical jewels played by Bela Fleck, banjoist without peer, together with well known top flight classical instrumentalists such as John Williams and Evelyn Glennie and others of whom I have not heard but who do not disappoint, and neither does Edgar Meyer on bass who encouraged Bela to explore the classics. There is not one track here that is not a gem. I have loved the Classics since I was a boy, particularly Baroque although my first love was the music of Beethoven. Music by Scarlatti, Bach, Beethoven, Brahms, Chopin, Tchaikovsky, Debussy and Paganini all feature. It is only recently that I have discovered Bluegrass and thus Bela Fleck.

If you are a lover of the classics, do not be put off from buying this album. The very first track, Scarlatti's keyboard sonata in C Major played by Bela with Chris Thile on Mandolin somehow, in my mind anyway, conjures a picture of beautiful crystal cut glass sparkling in sunlight. It is simply gorgeous. The quality continues right through to the last track which is a Bluegrass version of Paganini's Perpetual Motion and I have to confess it makes me smile whilst admiring the sheer technical expertise. Bela plays the same piece earlier and he plays it straight. It is so fast as to be exhausting, as is the Bluegrass version, but you just go back and listen time after time, stunned at the musicianship, precision and superb interpretation.

If you are a Bluegrass fan, like me, you should not be put off either. You will find plenty here that will delight you.

Bela's sleeve notes are comprehensive and great to read. He explains how difficult it was to transcribe these works for the banjo and the other instruments. He says that it was also difficult to play under what you might call a classical discipline with classically trained musicians, taking on their interpretive approach. However, the result of this collaboration is just about perfect

Stainer's fan

Perpetual Motion

Reviewed in the United Kingdom on February 17, 2014

Verified Purchase

Great music. Amazingly played by a fabulous line up of top notch musicians. Will be a number one in my music collection.

Dragonfly

Four Stars

Reviewed in the United Kingdom on February 16, 2016

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Purchased as a gift.

One person found this helpful

Dr. Tim Parker

Banjo doing classical; nowhere near as bad as it sounds like it could be!

Reviewed in Canada on August 9, 2020

Verified Purchase

We've all heard transcriptions of classical music for other instruments, but this is the first time I've heard them done on the banjo. I thought this would be a novelty, I'd last for three or four tracks, then shelve the CD. I was wrong. I sat through this twice on the first listening, enjoying it immensely. Not so much for the banjo aspect, but the clever arrangements of some of the pieces here with other instruments to make duos or trios. And some of these tracks are quite magical and will become regulars on my CD player, they are that interesting and, most importantly, good! These are pieces you know and love, for the most part, and hearing them done on banjo and associated instruments is both surprising and fun (a hallmark of Fleck CDs!).

Bela Fleck is of course superb on his instrument, and his partners-in-tracks are well known and superb, too. The recoding is fantastic. I was really quite surprised how enjoyable this CD is, and I am happy that my expectations were exceeded by a huge margin. Now...a follow-up please Mr Fleck?

FrizzText - Didi van Frits

ein BANJO wie ein CEMBALO

Reviewed in Germany on May 4, 2004

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im beigelegten booklet legt béla fleck dar, wie lang der weg ist, den er als bluegrass-musiker beschreiten musste, bis die klassischen stücke von bach und chopin, paganini oder beethoven vortragsreif waren. er gibt zu, nicht besonders fix im noten-lesen zu sein - die außerdem ja nicht anzeigen, auf welcher saite, in welcher lage zu spielen sei. also war die erste stufe die übertragung der noten in tabulatur. spielbar ist dergleichen, wer es öfters gemacht hat, weiß es, aber so noch lange nicht. was theoretisch sich bei der übertragung von noten ins zahlensystem der tabulatur ergibt, ist nicht das, was letzten endes fingergerecht sich als spielbar erweist. vieles muss also handgerechter umgelegt werden - und je öfter man ein stück spielt, weiß man, in welcher lage, auf welcher saite es so klingt, wie man es gern gehört hätte. nachdem béla fleck zwischenzeitlich seinen arm einem masseur anvertrauen musste, steuerte er auf die schwierigste aufgabe zu: das für einen bluegrass-musiker ungewohnte zusammenspiel mit einem klassischen ensemble. das tempo richtete sich nicht mehr nach seinen stillen übungsstunden, nicht nach einem gerechten metronom, auch nicht nach üblicher country-music-bühnenfreude. klassische musiker verlangsamen und beschleunigen, wenn sie bestimmte teile betonen, hervorheben wollen, sie reagieren untereinander auf vorschläge, impressionen, expressionen - es ist halt ein sich gegenseitig wahrnehmendes, auf sich reagierendes team. béla fleck ist in alle diese verschiedenartigsten anforderungen hineingewachsen - und hat wundervoll demonstriert, dass der klang eines perfekt gespielten banjos wie selbstverständlich sich in klassische kompositionen einfügt - schließlich klingt ein banjo auch fast wie ein cembalo [eine ähnliche leistung wie béla fleck vollbrachte übrigens der banjo-spieler john bullard] ...

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