This, the fourth volume
in a series of specially composed piano miniatures published
by The Associated Board of the Royal Schools of Music,
brings the total number of new works in this 'Spectrum'
series to 141. All of the works here were composed between
2002 and 2003, and are consistent with the idea behind
Spectrum, which is to provide generally short, technically
approachable pieces which nonetheless reflect the character
of each individual composer.
Listeners might feel a
little daunted by the sheer number of different composers
and pieces on offer here, but this musical environment
is a deeply fascinating one. I wouldn't go as far as to
say that the composers names are irrelevant, but it is
interesting to listen anonymously (or even 'Nemonymously'
as a writer colleague of mine would have it) and view the
whole thing as a sort of miniaturist's scrapbook of the
kind of music written in a particular year. In this way
these recordings equate to a research document, and listening
'blind' you sometimes have the impression that the music
is flowing like a set of variations. This sense of unity
is of course helped a little by Thalia Myers' excellent
playing. She has a natural gift for presenting the individual
character of each piece, but her own personal 'sound' is
of course a constant, whether it be in works quiet and
lyrical, or boldly accented and angular. It almost goes
without saying that the recording is superb, with the proven
plus of Snape Maltings' acoustic supporting the piano in
splendidly suspended silence.
It is interesting, if
perhaps unsurprising to note how many of these little gems
are quiet and restrained. Even when the dynamic goes beyond forte it
is often an interjection, with quieter material forming
the bulk of the work (Beat Furrer's Melodie-fallend, Alejandro
Guarello's S n d, Ramon Lazkano's Gentle Sway, Hilda Paredes'
Las estrellas, Param Vir's Ratri) or the brief climax to
an arch form (Detlev Glanert's Lied im Meer). Just looking
at the titles you can get a sense of the almost, quasi,
not-quite-but-almost (dare I say it?) 'new-age' feel that
infuses many of these pieces, so it is always refreshing
when some more substantial music pops up (Alun Hoddinott's
Leapfrog, Erkki-Sven Tüür's Short Meeting of Dark and Light,
Joseph Vella's Playing 6,5,4,3,2...) or a sense of humour
(Gerald Barry's Agnes von Hohenstaufen). One or two works
with electronic extras also provide welcome variety (Barry
Conyngham's Veils 1, Joyce Beetuan Koh's Piano Peals, Roderik
de Man's Wajang, João Pedro Oliveira's Looking in the mirror,
and one of my favourites; PerMagnus Lindborg's Bugo Resonances).
There are very few atonal serialists (Roger Redgate's Webernesque écart),
nor many Messiaen soundalikes (Jesús Torres' Aurora), and
almost no 'jazz chords' (Raymond Yiu's podskok).
I was intrigued to see
well-known composers being set against names which were
new to me. The only one I think I might have identified
correctly was Peter Maxwell Davies, whose Snow Cloud, over
Lochan is impregnated with honest Scotch snaps. Once you
put the name to the piece it's often a case of 'ooooh yes'
- the fingerprints are there, just harder to spot sometimes,
like picking out red roses in a poppy field. It is certainly
interesting to hear how each composer approaches the framework
of technical accessibility and compactness of duration.
One might expect to find a little more intensity here and
there, someone interested in solving the problem by some
means of compression rather than in one or other kind of
'mood' music. There are some moments of genuine loveliness
though (Karen Tanaka's Northern Lights), and nothing I
would point to and criticise for being in any sense weak.
Individual taste will sort out your own favourites, but
you can rest assured that there's nothing offensively awful
hiding among the small-but-perfectly-formed.
This is an ongoing project
which should most certainly be continued, possibly in the
direction of similar sets of new works for 'instruments
with piano' or instrumental duets (If they call it 'Gamut
1' I have a piece already gift-wrapped!). As someone involved
with the teaching profession I welcome such an injection
of new life into the repertoire, and can imagine serious
piano students being introduced to all kinds of new sounds
and challenges with these works. As a recording it goes
far beyond being 'just an educational project,' and as
Thalia Myers herself describes it as an 'international
art gallery of contemporary piano music' it's an exhibition
which is very much worth the entry price, and well worth
exploring at length.
Dominy Clements
AVAILABILITY
Usk
Recordings