Modern and Contemporary

Barbara Pentland – Toccata
Barbara Pritchard
Centrediscs CMCCD 18312

I am very happy that Centrediscs, a label on which I also record, has released this CD of the solo piano music of Barbara Pentland. She was one of Canada’s leading composers who also had a place in the international avant-garde. Although she favoured serial techniques she did not let the rules restrict her. Her music sings and flows with imagination and colour. These are not the dry ascetic pieces you might expect from a serialist.

The first piece on the CD, Toccata (1958), is modelled on the toccatas of Frescobaldi and reflects the baroque virtuosic style of fast trills, arpeggios and hand crossings. Barbara Pritchard played this piece for the composer and gives an exemplary performance.Ephemera (1974–78) is made up of several short pieces named Angelus, Spectre, Whales, Coral Reef and Persiflage.This is an extraordinary set of works and Pritchard’s sensitive tone and attention to detail make this impressionistic-sounding music a mesmerizing experience. The humour that Pentland injects into two of these pieces is charming. A hint of Reveille in Persiflage is quirky and fun.

Tenebrae (1976) is full of brooding shadows lovingly played by Pritchard. Dirge from 1948 and From Long Agofrom 1946 illustrate Pentland’s early style and you can hear the influence of Copland, Stravinsky and Bartók on her work. Vita Brevis (1973) and Horizons (1985) complete this excellent CD which should encourage pianists of all levels and musicians of any taste to discover the marvellous, musical world of Barbara Pentland.

Adam Sherkin – As At First
Adam Sherkin
Centrediscs CMCCD 18212

This new recording finds Adam Sherkin at a fascinating early point in his career as a composer. Sherkin trained first as a pianist, and the works on this CD of his solo piano compositions show him processing this experience. Having engaged the piano repertoire as broadly and comprehensively as one could ask of an artist of 29 years, classical piano music remains his central point of reference. Clearly evident are the influences of an entire gallery of European piano keyboard composers from the Baroque through the late 18th, 19th and 20th centuries. Mozart and Haydn are overtly acknowledged in this recording (in the pieces called Amadeus A.D. and Daycurrents, respectively), but the presence of Bach, Liszt and Shostakovich are no less clearly felt at various points in the proceedings.

Influences aside, what do we perceive of Sherkin himself? It’s a fair question in this case, because his compositions must accommodate the performer’s own fulsome expressivity: the dynamic range of his playing is wide, tending to the forte; his articulation is crisp with a fondness for jabbing accents; his phrasing often features a late-Romantic emotionalism in its rubato, but can also — albeit less frequently — settle into a calmer metric momentum. And here is what is interesting about this portrait: as a composer, he is dealing with the conflicting attractions of self-expression on one hand, as in the solo piano music of Schoenberg or Scriabin for example, and a less subjective, more outward and “American” approach on the other, as in the music of John Adams, with whose solo piano music Sherkin is well acquainted. It is a typically 21st century creative quandary, and Adam Sherkin has taken up the struggle with energy and panache.

Levant
Amici Chamber Ensemble
ATMA Classique ACD2 2655

Clarinettist Joaquin Valdepeñas, cellist David Hetherington and pianist Serouj Kradjian are joined by first-rate guests (Benjamin Bowman and Stephen Sitarski, violins, Steven Dann, viola) to perform a wide range of pieces which make up the passionately played program of this superb recording. The music of familiar composers such as Glazunov and Prokofiev sits alongside that of little-known Gayané Chebotaryan, Solhi Al-Wadi, Marko Tajčević and other artists inspired by the “sounds and colours of the Middle East,” as explained in Kradjian’s informative liner notes.

Highlights include Prokofiev’s Overture on Hebrew Themes, involving all the musicians and featuring Valdepeñas’ gorgeous clarinet sound, and the Seven Balkan Dances by Tajčević, a 20th century Yugoslav composer. The performance of these dances is highly spirited and showcases the artistry and virtuosity of the core ensemble.

The program is punctuated by chants by the spiritual teacher George Gurdjieff, arranged for solo piano by Thomas de Hartmann. These contemplative pieces, sensitively played by Kradjian, act as a welcome foil to the larger, longer and more intense ensemble pieces.

The disc ends with a sensational solo piano work — Levante, by Osvaldo Golijov — brilliantly rendered by Kradjian.

The string playing by Hetherington and guests is rhapsodic and committed and the whole disc exudes polish and thoughtful musicianship. Special mention should be made of Carlos Prieto’s engineering.

Concert notes: Amici provides live music to accompany classic silent (and neo-silent) films by Buster Keaton, Man Ray and Guy Maddin at the Bell Lightbox on February 3 at 3:00. They will be joined by soprano Isabel Bayrakdarian and other guests in music of Beethoven, Chausson, Poulenc and Montsalvatge at Koerner Hall on March 1 at 8:00.

Missa Brevis – A Mass for Accordion
Matti Rantanen; Marko Ylonen
Siba Records SACD-1009

Finnish accordionist Matti Rantanen is one of the bedrocks of European “classical” accordion as a teacher at the Sibelius Academy and an international performer. Here he performs mainly solo music with numerous liturgical references.

The transcriptions of Haydn and Mozart are well conceived. Rantanen’s expertise makes each work sound legitimate on the accordion, however a wider dynamic range in the Haydn and more playfulness in the Mozart would have added to the listening experience. Though originally written for cello and piano/organ, Ahti Sonninen’s Hymns of Zion for cello and accordion is a lyrical tone poem duet with cellist Marko Ylonen.

The title track Missa Brevis – A Mass for Accordion is a modern take on the old form. The accordion emulates the qualities of the church organ with its held long tones, florid arpeggios and chunky chords, while the range of dynamics, multi-note glissandos and subtle differentiations on articulation are so very accordion exclusive. Similar sentiments surface in Tapio Nevanlinna’s Hug. Petri Makkonen’s Chorale Prelude is exquisite. A former accordion student of Rantanen, Makkonen’s personal relationship with the instrument must have aided in his balanced writing of a florid right hand against held low tones in the left. Unfortunately, the huge glissando connecting the opening section to the middle lyric melody comes across as a “trick” instead of a bridge. The last two chords are delightful.

Rantanen’s musical personality makes this recording a thoughtful and intriguing expose of fine accordion musicianship and composition.