An entertaining overview of 100 years of American piano music

Evan Mitchell, American Century

Born in New Jersey, educated in Indiana and Texas, and currently Assistant Professor of Music at the University of Florida, pianist Evan Mitchell obviously has this music in his bones. He's put together a wonderful programme that represents the many strands American composers have woven into their piano music, from Gershwin in the 1920s, to 21st Century pieces by John Adams, Missy Mazzoli and Frederic Rzewski.

Most appealing to me in this fabulous musical montage is the contribution of Florence Price, who I believe is the most exciting musical (re)discovery in classical music in this century. Her three Snapshots, written in 1947-52 but not discovered until 2008, are character pieces that bring to mind three particular moments, captured as notes on manuscript paper as if on film. Price can be seen as a modernist artist working in the same vein as her close contemporary, Imogen Cunningham. Both stop time and achieve transcendence.

Imogen Cunningham, Three Dancers, Mills College, 1930

Another wonderful piece is Missy Mazzoli's Bolts of Loving Thunder, written in 2013. It's Mazzoli's homage to Johannes Brahms, containing references both to his late, great, autumnal works for piano, but also to the vital music of what she calls the "Pre-Beard Brahms", the handsome young man on the left. It's a fascinating 8½ minutes of synthesis of youthful vigour and mature wisdom.

Brahms in 1855 - Brahms+beard, by Maria Fellinger, c. 1893-96

It wouldn't be the American Century without Aaron Copland, of course. But his Piano Variations, from 1930 is a bleak and angular work of uncompromising modernism. Nothing could be farther from his later folkloric Americana-inspired popular works. At first this sounds more like Paris than New England; more like Stravinsky than a Shaker hymn. But it's still American in its own way, and good on Evan Mitchell for placing it in the centre of his album. Adolphus Hailstork's Eight Variations on “Shalom Chaverim” provides a more down-to-earth vibe. It's a cleverly-constructed work based on a really lovely tune. 

John Adams' American Berserk, from 2001, is a fascinating work. Adams called it "extroverted, punchy, and fundamentally good-natured." Mitchell lets the music swing, which is what is required. Let's call this Post-Bop Minimalism.  After another uncompromising piece, Frederic Rzewski's Piano Piece No. 4, from 1977, Mitchell wraps things up with Stephen Hough's brilliant, showy arrangement of the Carousel Waltz, from Rodgers & Hammerstein's 1945 Broadway show.

What a fascinating, varied and thought- and emotion-provoking hour+ of music we have on this Centaur disc. Evan Mitchell teaches us about the breadth of American music for the piano while keeping us entertained, and all without resorting to cliché.

This Canadian review comes with best wishes to Americans of Good Will, without threats or sanctions.

True gold, glittering

Berlioz: Les Nuit d'Ete, Ravel: Sheherazde, Debussy orch. John Adams: Le Livre de Baudelaire

When early in his career as a composer Maurice Ravel began to set some poems by Tristan Klingsor, he had the poet "recite his verses repeatedly in order to absorb their rhythms and tone," according to Paul Schiavo's illuminating liner notes to this new release. The result were the three Shéhérazade songs, sung beautifully here by Ian Bostridge, with the Seattle Symphony providing their patented exotic, shimmering, multi-Grammy-winning sound to back him up. Each of the works on this album demonstrate the special bond that music and poetry can share, when geniuses of each genre are matched up at the right time. Schiavo points out that Hector Berlioz's setting of poems by Théophile Gautier as Les nuits d’été was the first important song cycle for voice and orchestra. Bostridge's passionate, suave interpretation along with the support of Ludovic Morlot and his Seattle players, 100% in the groove with this music, helped me overcome a lifelong prejudice against Berlioz. It's hard to imagine a better interpretation of this gorgeous music.

The John Adams orchestral transcriptions of the Debussy settings of poems by Charles Baudelaire are as beautiful as a great painting by John Singer Sargent - The Daughters of Edward Darley Boit in Boston, let's say. In both the music and the painting there are profound meanings that are, paradoxically perhaps, hidden by the surface beauty.

In the words of another artist:

"If you want to know about Andy Warhol, then just look at the surface of my pictures, and there I am."

And John Singer Sargent himself:

"I don't dig beneath the surface for things that don't appear before my own eyes."

Which brings me to one of my favourite quotes, from that great aphorist Hugo von Hofmannsthal:

"Depth must be hidden. Where? On the surface."

The more gold that is mined, the more beautiful the surface seems, from Baudelaire's exquisite verse to Debussy's elegant melodies, to John Adams' sumptuous orchestral harmonies and textures. This true gold glitters most perfectly in this performance: Bostridge's lovely voice with a great American symphony orchestra at the top of its game.

Superb Adams and Glass from Canada

From October 20, 2010:

Composer John Adams has called the two piano pieces China Gates and Phrygian Gates "my opus ones,... my first coherent statements in a new language". Written in 1977 and 1978, they have a theoretical framework as complex as Schoenberg's or Bach's, but they sound completely organic, as if produced by some natural process.

Adams calls Phrygian Gates "a behemoth of sorts". The work requires a pianist gifted with significant technical abilities, in much the same way as Liszt's B minor Sonata or Villa-Lobos's Rudepoema. Such skills are on display in David Jalbert's fine new recording from Canada's ATMA label. He has the dexterity to manage Adams' separate-hand waves (a much more complicated and more musical version of patting your head and rubbing your stomach), and he can turn on a dime when Adams abruptly shifts modes, as a gate (analogous to logic gates in computers) changes its state. As well, he has the stamina to dilineate Adams' architecture built from long arches of sound. China Gates uses similar ideas but is much less complex. It has a delicacy that the larger piece doesn't have, and Jalbert brings out plenty of beauty from this simplicity.

The Orphee Suite by Philip Glass was transcribed for piano by Paul Barnes, based on Glass's 1991 chamber opera, which was inspired by the great 1950 film by Jean Cocteau. Jalbert's version of this dramatic music is preferable to Barnes' own recording, released on Orange Mountain in 2003. It seems to me more incisive, less sentimental. As well, the ATMA disc has exceptional sound.

David Jalbert's 2008 recording of the Shostakovitch Preludes and Fugues is a favourite of mine. It was, quite rightly, very well received, and this new disc should bring similar praise.