This disc of solo
piano works by the Juilliard educated Aileen Chanco gives her
ample opportunity to showcase her considerable talents as a
pianist. An interesting choice of repertoire works well. Each
piece is collectively of substance, however many of the individual
movements themselves can only be described as miniatures – this,
however, shouldn’t particularly bother the listener to any real
extent.
The disc opens with
the two most recent works of the four presented, the second
of which (The Three Ages of Woman) was commissioned
from Mark Fish by Chanco herself. The first piece is the four
movement First Sonata by the Argentinean composer Alberto
Ginastera. Ginastera’s predilection for using Argentinean folk
music as a significant influence in his music is vivid. To this
are added elements of serial technique and the rhythmic and
harmonic flair of Stravinsky. Chanco immediately shows a specific
connection with the more recently composed works and this continues
into The Three Ages of Woman. These two works clearly
give Chanco more opportunity to display the intense virtuosity
that is one of her specialities. This panache is not so evident
in the two remaining Romantic works on the disc, which are,
however, still executed with a generous helping of musicality
and ability.
A musical portrayal
of the Klimt painting of the same name, The Three Ages of
Woman – here in its first recording – is in three movements
– Reminiscences of the Old Woman, The Mother, Awake,
and Child. Mark Fish cleverly and effectively depicts
each of these in music that is deeply descriptive. In terms
of the performance and repertoire combined, this work perhaps
provides the most interesting music. A strong Romantic influence
pervades the work, which is also infused with more recent techniques
and a hint of blues in the harmonic template.
The particularly
close recording, overly-bright sound and lack of resonance in
the final result - which suggests a venue with little to no
ambience - unfortunately do not go hand in hand with the subtle
nuances of the Debussy Images Book 1. The performance
is accurate and clear and a sufficient amount of passion has
been poured into this interpretation. That said, there is still
a slight feeling of naivety and one feels that it may not make
a huge impact in comparison with some of the more obvious recordings
of this music. In the context of this disc though, it provides
welcome and further well-considered variation.
The pace of the
disc is noticeably slowed with the final work (Pictures at
an Exhibition). The first two movements are suitably interesting,
majestic and animated, but towards the middle of the work the
interest comes and goes. A few occasions of uneven playing and
slightly lopsided rhythms become apparent; only the slightest
flaw in Chanco’s otherwise mostly impeccable playing.
Adam Binks
Aileen Chanco (piano)