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JOHN MCLEOD Piano Music. Twelve Preludes/Hebridean Dances/Four Impromptus/Piano Sonatas 1/3    Murray McLachlan, piano.  Redbook Records RBCD002

 

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This is a welcome disc. Not only do I recommend its purchase but that recitalists take up McLeod's best piano music.

Writing for the piano is many composers' Achilles heel. In the final analysis few composers can write really effectively for the piano. Among the British composers still happily with us, Francis Routh is possibly one of the finest composers for the piano and, certainly, John McLeod is another.

So much piano music today is of the static and tedious variety, a sort of updated melancholic dreamy expression of a few famous names from the beginning of the nineteenth century when, although piano music was tuneful, it meandered and, perhaps, sometimes wallowed. But this CD is, in the main, of real piano music and while the quality of the music varies from uneventful to excellent, it must be remembered that no composer can compose music of supreme quality all the time.

The Twelve Preludes are exceptional. The theme of the opening prelude has remained with me since I heard it. There is a finely judged balance of virtuosity and excitement and thoughtfulness. But the great thing is that the work is always full of interest; it is never static or dull.

It is one of the most rewarding piano works I have experienced for a long time.

The Piano Sonata No 1 is a compact work in a single movement. After an introduction we have a fast-slow-fast format. The continuity does not always seem to be there but watch out for the final pages. Of these I can, in all truth, use the word brilliant correctly. It is very exciting indeed.

Arrangements of Hebridean folk dances follow. Dressed in 'unexpected' harmonies and a craggy ruggedness which may not appeal to everyone and there is always that group of listeners who spend their time 'trying to find the tune' rather than paying attention to the music. The Harp of Dunvegan is superbly realised.

One of McLeod's earliest compositions is the Four Impromptus of 1966. The work is dedicated to his then-teacher Lennox Berkeley. These four pieces are nothing like the Schubert Impromptus. We are not in the realms of pretty melodies and endless repetitions but direct statements and communication. What I discovered was that the descriptions of each of the four pieces were perfectly apt: energico, tranquillo, cantabile and risoluto.

The Piano Sonata No 3 dates from 1995. It uses a quotation from Scotland's Renaissance composer, Robert Carver. The episodic style greatly hinders the logic and continuity of the piece. It is a work of depths that I cannot yet fathom and there are exciting bursts of powerful virtuosity but I was left with a conviction that, while this work is expertly pianistic, it may fare better in an orchestral dress. In my view, the piece needs more colour. I found it a little tedious.

Murray McLachlan needs no further words from me as to his reliable, exciting and exemplary performances. The recording was bright but my copy of the CD kept sticking.

Reviewer

David Wright

Performances

Recording

see also previous review by Colin Scott-Sutherland

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Reviewer

David Wright

Performances

Recording

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