Spectrum & Spectrum #2: 50 Contemp Wrks Solo Pno

Thalia Myers - Spectrum & Spectrum #2: 50 Contemp Wrks Solo Pno

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CD Details

Artist: Thalia Myers
Edition: Music CD
CD Release Date: 1999-12-13
Music Label: Nmc Records
Soundtracks:

Music CD 1

If the Silver Bird could speak for piano
Toccata for piano
Constellations 1 & 2 for piano
Landscape for piano
Moto Perpetuo for piano
Yvaropera 5, for piano
SAZZ for piano
Far Away for piano
ff, for piano
Dark March for piano
Memorial Blues for piano
Mira for piano
Song Without End for piano
trace for piano
Stele for John Lambert for piano
Moonscape for piano
Lutie's Arabesque for piano
Diversion for piano
Cantilena for piano
Still for piano

Music CD 2

Nyanyuskla's Song for piano
Slow Moon for piano
Only a wish away for piano
Lizard for piano
High Ground for piano
arc, for piano
Tango for piano
Taking a line for a walk for piano
Cat being bold at first for piano
In Memoriam for piano
Rosamund's March for piano
Somewhere near Cluj for piano
Tsunami for piano
Chorale for Howard Skempton for piano
Foglie d'Autunno for piano
Plaint for piano
Haiku for piano
Tuesday for piano
Little Dances for piano
Sunset over Stac Pollaidh for piano
Clouds for piano
A Story Untold for piano
Hallowe'en for piano
Micro-Sonata for piano
Tunch for piano
Zodiacs, for piano
l'escalier for piano
The Little Bear for piano
October Monody for piano
Arpeggio for piano

Music reviews of Spectrum & Spectrum #2: 50 Contemp Wrks Solo Pno

Music Review: marvelous bagatelle-like piano album
Rating: 5 Stars

This is a wonderful collection of piano bagatelle like durational envois, shibboleths,effacacious timbral meanderings,visionary,some ephemera, egregious. Yet all ponder an obsessive elan for the pure rarefied luv of piano timbre.And since modernity has passed out of itself,there is a freedom simply to create unencumbered,eremitical with pure devotion to piano timbre. Some works actually betray their asopted,intended/distended frames. That perhaps is a more interesting feature of postmodernity. Here as in Bedford's 'Toccata', scouring post-electronic tonality. It is a wonderful work diapasonal,diaphanous,orgasmic at times,yet direct and to the point. Also a prolific great piano practicioner-monger is Michael Finnissy with an excerpt from his 'Yvaropera 5', there are more,these are dedication to the marvelous new music pianist Yvar Mikashoff. Finnissy has finely woven threadbare lines. These works engage the challenge of the miniature, and the lyricism present here is like walking in a gallery with a predominance of no one particular musical language.
There are also some leftovers from the Tango Projekt.Perhaps the precursor of this Spectrum.
Howard Skempton the pre=eminent British miniaturist 'Cantilena' is here,hovering with an air of eridite presence,his voice is rather taciturn like,yet talismanic with a few purely wrought tones.
Andrew Toovey's 'Still'I found is not as remarkable as his brilliant chamber works,of dense complexity. Here the upper register clusters seemed overly labored,and unintentional within the context. Jonathan Harvey's 'haiku' is the ultimate effrontery for this miniscule musical parade, a mere single arpeggiated gesture, one press-down of the sustaining pedal, a mere 20 seconds, or as long as the envelope decay dies.
I found overall that it is the structural context that harbors the conceptual complexity,even the more pronounced examples as Roger Redgate's 'trace' is not as rhythmically forbidding as a measured particle exhumed from Ferneyhough,who is mirabile dictu absent from the proceedings here. Also the epigones of complexity, as Barrett, Dench,Fox are out of the picture.Why?.If you smite their faces do they not shed a tear,if you cut them, do they not bleed.
Neglected imaginative piano creator Dave Smith however is included. Smith has written,contributed greatly to solo literature, and his "tuesday" is included, a wonderfully crafted work with equisite voicings,ephemera.Additional I enjoyed Edward McGuire's "Foglie d'Autunno" a work satisfying the more song/canto,piano album dimensions of its generic frame. There are as well extroverted-like tone poem/paintings, as Edwin Roxburgh "Moonscape", Montague's "Mira",Hoddinott's "Dark March".
All these excursions into the finer particles of piano timbre leaves one empty, I found, not in an inferior way, but as Cornelius Cardew once quipped an eudaemonia,a felt perception,of something else,an emotive entity,a creative pathway missed, a wrong turn,a bad egg of structure,or concept,and that some unknowable espousal,some imaginative envoi should have been at the center of the music.

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