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simon_vincent__stations_of_the_cross‘Stations of the Cross’, a new work for solo piano by British composer and pianist Simon Vincent, was inspired by a visit to Jerusalem in 2015 and by William Fairbanks’ installation in Lincoln Cathedral. Entitled Forest Stations, the installation is a series of sculptures in wood and reflects Fairbanks’ love of timber and his concern about the preservation of forests and trees. The sculptures tell the story of Christ’s death, the ‘Stations of the Cross’ being the places on the route to the place of Crucifixion where Christ is said to have stopped. For the faithful, each station, or stopping point, provides a point of prayer and meditation on the Passion of Christ.

Simon Vincent’s ‘Stations of the Cross’ (2016) is a series of 17 short movements, depicting Christ’s spiritual, emotional and corporeal journey to his death on the cross.

It is intended that the work opens up reflection and discussion of the image of a sole human figure weighed down with burden, an image which for me raises issues of the relationship of the individual to both a society and state which are not only capable of looking away but also of allowing suffering: themes of truly vital relevance to us today

– Simon Vincent

The work is prefaced by an earlier piece, ‘Meditations on Christ in the Garden of Gethsamane’ (2013) whose sombre, reflective mood prepares the listener for the main work on the disc. Musically, ‘Stations of the Cross’ owes much to Morton Feldman, master of stillness and controlled, deliberate silences, while the concept of a cycle of devotional meditations connects this work to Messiaen’s epic ‘Vingt Regards sur l’enfant Jesus’. 

Vincent’s carefully-placed chords are infused with jazz harmonies, while subtleties of tonal colour are achieved through long, sustained notes and the piano’s resonance. It’s the kind of music that demands to be heard live, preferably in an acoustic which allows the timbres and unexpected fleeting clusters of notes and rhythmic fragments to linger in the air like memories.

It was Claude Debussy who declared that “music is the space between the notes”, and the pauses and fermatas which colour ‘Stations of the Cross’ allow one to fully appreciate every single note and chord. Into this void, the sounds reverberate and resonate with a meditative stillness and restrained expressive gravity. The effect is powerfully cumulative, despite the brevity of each movement, with a sense of the music building inevitably towards its contemplative conclusion.

The work receives its world premiere on 18th April 2017 in a concert given by the composer in the Chapter House of Lincoln Cathedral. Further information

A Meet the Artist interview with Simon Vincent will be published shortly.

 

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Sibelius Piano Works, vol 1 – Joseph Tong

I had no idea that Jean Sibelius composed for the piano until Joseph Tong played ‘The Trees’ Op 75 at a concert for my local musical society. I was really taken with the variety and expressive and imaginative qualities of these piano miniatures and rushed home to explore some of Sibelius’ piano music myself. The next time Joseph Tong came to perform at the NPL Musical Society, he gave me a copy of his CD and I have been enjoying exploring the range and variety of Sibelius’s writing for the piano.

Although the violin was his main instrument, Sibelius was also a gifted pianist and his piano music is fresh and original, as this recording will attest. The opening ‘Kyllikki’ triptych has a broad romantic sweep, while ‘The Trees’ and ‘The Flowers’ are intimate, characteristic salon pieces, as evocative as any of Grieg’s Lyric Pieces with hints of impressionist and expressionist writing. The ‘Five Romantic Pieces’ display richer, more textural piano writing and hint at the composer’s growing penchant for orchestral melodies. The ‘Esquisses’ (1929) are the last pieces Silbelius composed for solo piano, but they were not published until 1973 and are not widely known. They represent the composer’s increasingly personal response to nature and utilise devices such as modes and a bold approach to harmony. Wistful and pensive, they hint at darker places beyond their titles.

The album closes with the composer’s own transcription of  his celebrated nationalist work ‘Finlandia’ which loses nothing and indeed gains much in its solo piano version, especially in Joseph Tong’s authoritative handling of the dramatic tremolandos and majestic sonorous chords of the opening measures and the sensitively portrayed chorale which is intimate and tender.

Joseph Tong is a champion of Sibelius’s piano music and his studies have taken him to Finland to the composer’s home in Ainola, where he played the composer’s own Steinway piano. His commitment to this music is evident in his sensitive shaping and pacing of these piano works. The piano sound on this recording is excellent, warm and clear, and there is much to enjoy on this disc. I believe a second volume is planned.

Recommended.

sibeliuksen_flyygeli

Jean Sibelius Piano Works, Volume 1

Kyllikki, Op.41
Five Pieces “The Trees”, Op. 75
Five Pieces “The Flowers”, Op. 85
Five Romantic Pieces, Op. 101
Five Esquisses, Op. 114
Two Rondinos, Op. 68
Finlandia, Op. 26

Joseph Tong, piano

Quartz Music

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sommcd0162Whenever I hear Haydn’s piano music played well, I want to rush to my piano to play it myself. Such was the effect of listening to Leon McCawley‘s new ‘Sonatas and Variations’ disc on the Somm label. Haydn’s piano music is not performed enough, in my humble opinion, so it is a pleasure to have a recording of such quality to enjoy.

A brace each of sonatas in major and minor keys, these works have long been part of McCawley’s concert repertoire, and this shows in his deft and insightful handling of articulation, dynamics and Haydn’s rapid changes of mood. Nothing feels forced nor contrived, and there’s wit and humour aplenty, especially in the C major Sonata (No. 60, Hob. XVI/50) which shows Haydn (and McCawley) thoroughly enjoying his mastery of the instrument and its capabilities. McCawley brings elegance and spaciousness to the slow movements, revealing fine details of inner voices. Haydn’s final piano sonata, No. 62 in E flat Hob. XVI/52, which unlike the last sonatas of Beethoven and Schubert was composed some 15 years before Haydn died, rather than at the end of his life, combines grandeur and exuberance in its opening movement, while the slow movement has a stately nobility. The finale is a lively romp, but despite the rapid tempo, there is never any loss of detail or precision.

The F minor Variations are a delight, at once melancholy and wistful in the minor variations, and gracious, playful and warm in the major ones. Interior details are highlighted and a sense of the overall architecture and narrative of the work is clear. And I am pleased to note that McCawley observes all the repeats, which turns this work into something enjoyably substantial. Throughout there is tasteful pedalling and the piano has a lovely clarity, perfect for this music.

Recommended.

Haydn
Piano Sonatas
No. 53 in E minor
No. 60 in C major,
No. 33 in C minor
No. 62 in E flat major
Variations in F minor Hob. HVII/6
Leon McCawley, Piano

SOMMCD 0162

 

 

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81u7rrpufwl-_sl1500_The Scottish composer Ronald Stevenson died in March 2015. He was one of the most important composers of our time, a composer-pianist in the grand tradition of Beethoven, Chopin, Liszt and Rachmaninov, probably best remembered for his monumental Passcaglia on DSCH, his tribute to Shostakovich composed in 1962. Stevenson has been compared to Liszt and Busoni: he transcribed many works for piano, and he was also a generous supporter of other musicians and students. His musical language is also redolent of these composers, as well Chopin and Alkan, but always with its own distinctive voice and an awareness of his adopted Scottish heritage.

This new disc by pianist and academic Kenneth Hamilton, which marks the beginning of Hamilton’s survey of Stevenson’s vast keyboard output, avoids the really large-scale works, though the Peter Grimes Fantasy is pretty substantial – Stevenson’s own Lisztian operatic paraphrase, in which themes from Britten’s opera are woven into music of expansive, inventive virtuosity and vivid imagination.

The disc works well as a “recital programme” offering an excellent introduction to Stevenson’s varied oeuvre. Alongside the more meaty works such as Beltane Bonfire and Symphonic Elegy for Liszt, there are shorter works, including transcriptions of Scottish folk songs and Three Elizabethan Pieces after John Bull, which are reminiscent of Percy Grainger in the combining of rich harmonies and textures with period music.

Hamilton studied with Stevenson and his understanding of the composer’s personal idioms is evident in his masterful handling of this music: robust and sweepingly romantic in the more bravura works, charming and witty in the shorter pieces with moments of luminous delicacy, as, for example, in Stevenson’s transcription of Rachmaninov’s Lilacs, which is all filigree textures, echoed in the opening of the transcription of Ivor Novello’s We’ll Gather Lilacs.

Recorded on a Hamburg Steinway at the School of Music, Cardiff University, Hamilton achieves a warm resonant sound which is particularly suited to the more expansive, textural works, though occasionally a little too dominant. Overall a most enjoyable disc with comprehensive liner notes by Kenneth Hamilton, which draw on his studies and conversations with Stevenson.

PRIMA FACIE PFCD050 1CD

primafacie.ascrecords.com