Svein Hundsnes is one of Norway’s most important living composers. He has written a wide-ranging body of music encompassing several vivid styles, moving seamlessly from tonal and non-tonal music to include jazz, rock and even funk. Hundsnes’ sequence of Clavinatas – one-movement free-standing pieces with a symmetrical form that often include toccata-like vitality – embody qualities that make his music so distinctive. Often syncopated, they possess short motifs, intensity and emotional ambiguity. Piano Sonata No. 1 and Downtoned Beats reflect his delight in drama and dance grooves. Finnish pianist Laura Mikkola has studied at the Sibelius Academy in Helsinki, the Curtis Institute in Philadelphia and the University School of Music in Bloomington, Indiana. She studied with Murray Perahia, Menahem Pressler, Gary Graffman, Dmitri Baskirov, Tapani Valsta and attended masterclasses of Ferenc Rados. Ms. Mikkola has been the recipient of many awards, among them the second prize in the prestigious Queen Elisabeth International Piano Competition of Brussels (1995), the first prize in the International Unisa Transnet Piano Competition in Pretoria, Republic of South Africa, the first prize in the Maj Lind Competition in Helsinki (1992), and the first prize in the International M. Ravel Piano Competition in France (1988).

Maltese composer Karl Fiorini is a European without frontiers – the compositions in this album reflect his early detachment from a Mediterranean identity towards a more varied and intense sound world. Trio Lamina features elements of Bartók’s ‘night music’ in its complex sub-sections, whereas Fiorini’s two piano studies, which predate his move to Paris, already exude a Gallic ambience. Influenced by North African folk music, the Piano Trio expands his global reach, and the Piano Sonata, a gritty virtuoso concert piece, shifts geographical influence towards Eastern Europe to powerful effect. All of these world première recordings were recorded in the presence of the composer.

REVIEWS:

This program is a shining example of a 21st-century composer who has stepped back from the extremist styles of the mid-late 20th century to re-embrace communication with an audience, but has taken elements from those styles into his own armory.

Karl Fiorini (b. 1979) references Minimalism alongside Lisztian bravura in the first of his Piano Études (2007–08), Middle Eastern syncopation in his 2017 Piano Sonata, and Neoclassical momentum plus Webernian fragmentation in the Trio Lamina (2002).

He draws on the characteristics of recent schools without adhering to their strict rules or specific aims. He knows his instruments, and his chamber music on this showing is bracingly virtuosic. Like other contemporary composers such as Francisco Coll, he has created a strong voice by synthesizing disparate elements so they emerge as subtle flavors, to use a cooking metaphor. (Much 21st-century music resembles modern fusion cuisine.)

The latest work on this program is a quartet, In the Midst of Things (2019), utilizing the same instrumental combination as Messiaen’s Quartet for the End of Time. I think Fiorini deliberately echoes that seminal work in the first movement, which begins with a languorous cello melody accompanied by full, stately chords from the piano, but he soon turns away from it. By the time we reach the closing Presto movement we are in a bustling world of earthy joie de vivre of a type Messiaen never attempted. Again, Eastern rhythms feature.

I greatly enjoyed these examples of Fiorini’s work. He may be an instinctive composer as he claims, but his instinct is clearly based in a solid grounding of acquired knowledge and continual exploration. The sound and performances are excellent. For those interested in new music, this disc is an exciting and not overly demanding example.

-- Fanfare

The early Trio Lamina (2002) for violin, clarinet, and piano sports an arch form and a spooky atmosphere reminiscent of Bartok. The Two Piano Etudes (2008) have a Gallic neo-Impressionism; and the Piano Trio (2005) has echoes of North African folk music in the use of hexachords and modes in retrograde and inversion. The Piano Sonata (2017) is a dense and demanding concert piece inspired by the music of Eastern Europe.

In the Midst of Things (2019) is a four-movement work for clarinet and piano trio that takes a Beethoven-like approach to structure, balancing intricate theory with carefully timed emotion. The performers bring out the best in the scores, rendering them all with marvelous skill, vigor, transparency, and commitment[.]

-- American Record Guide

Polish pianist Ignaz Friedman was one of the leading virtuosos of his day as well as a composer and a master transcriber. Friedman's transcriptions are both a delight for the listener and a challenge for the performer, and his creative imagination gives these delicious, charming and moving works a life of their own. The pianistic effects are both breathtakingly bravura and disarmingly subtle while remaining faithful to the originals.

Grigori (Grigory) Samuilovich Frid was a distinguished member of the generation of composers born in Russia just before the Revolution of 1917. Frid’s significant corpus of piano music can trace its lineage to Tchaikovsky, Mussorgsky and Stravinsky, and his skill in conjuring entire worlds in music can be heard throughout this recording. His albums of Children’s Pieces are rich in gems that evoke poetic nostalgia, seasonal moods and witty pictorial descriptions that genuinely transcend their didactic purpose. In these world première recordings, distinguished pianist Elisaveta Blumina reveals Frid’s extraordinary character – a gifted composer, pedagogue and artist who lived his life to the full, despite many personal setbacks and difficulties.

Johann Baptist Cramer made his name in London and Europe as one of the leading pianists of the day. His virtuoso skills at the keyboard can be heard in the florid and playful Variations on an Anglo-Caledonian Air and the ebullient Sonata, Op. 25, No. 2. Matteo Napoli is an honors graduate of the Giordano Conservatory (Foggia). Early in his career he captured worldwide attention winning many competitions, including First Prize in the International Liszt Competition at Lucca in 1986.

This final volume in Nicholas Walker’s much-admired survey of the complete solo piano music of Balakirev includes the composer’s famous work for piano, Islamey, an exotic and ultra-virtuoso oriental tale. Also featured are previously unpublished and unrecorded miniatures – pieces that are both poetic and, in the case of the Elegy on the Death of a Mosquito, witty. Transcriptions of Glinka are included, and Walker has arranged Balakirev’s passionate and sensual symphonic poem Tamara for solo piano, recreating textures redolent of the composer’s own piano style. He also plays Au Jardin, an Idyll-Étude of rapt beauty and tenderness.

This compilation celebrates Philip Glass’ 80th birthday through his unique contribution to the solo piano repertoire. It includes the sweepingly diverse and intricately melodic Etudes which are both technique-expanding and also intimately personal statements. His importance as a ? lm composer is shown in the subtle power of his transcriptions from stage and screen music, Metamorphosis I-V, and in his BAFTA-winning score for the The Hours. And Music in Fifths – which Steve Reich called “like a freight train” – dates from his experimental years and is full of a mesmerising variety of pulse patterns.

The eight works in this album explore reflections on the eight planets of the solar system and the earth’s seven continents. Most bear echoes of traditional melodies originating from indigenous peoples. Largely composed during the COVID-19 pandemic, Tanya Ekanayaka’s passionate awareness of the connections and congruences between the past and present is reflected in her vision of harmonious co-existence. In this cycle she presents a tapestry of moods – tenderness, fantasy and vivid ‘trans-creations’ of ancient melodies. DR TANYA EKANAYAKA is an internationally acclaimed and award-winning Sri Lankan-British concert composer-pianist. Although trained as a pianist, her compositional skills are the result of a purely intuitive and natural development. Influenced by her multifaceted background, multilingualism, ambidexterity and partial color synesthesia her works which she describes as ‘deeply autobiographical’ and which evolve when she is at the piano (and at times in her dreams), have not been scored in any form but remain precisely frozen in her memory once evolved. Consistent with her interdisciplinary background, she holds a doctorate for interdisciplinary research involving Linguistics and Musicology from The University of Edinburgh, where she has also been engaged part time in academic teaching since 2007, as well as advanced academic and professional qualifications in Music Performance, Linguistics and Literature.

This set of George Enescu’s solo piano music traces a fascinating musical arc from his precocious years in Vienna and Paris, where he absorbed Brahmsian and French late-Romantic influences, notably in the Impromptus, to the brilliantly mercurial Piano Sonata No. 3. Whether in the Pieces impromptus, eloquent character pieces, or in the oceanic Piano Sonata No. 1, Enescu remains, in Pablo Casals’ words, “the greatest musical phenomenon since Mozart,” his unique musical language embracing Bach as well as the abiding vitality, and melancholy, of his native Romanian folk music. As a First Prize winner of the XIII George Enescu International Piano Competition in Bucharest, the XV José Iturbi International Piano Competition and the First European Union Piano Competition, Spanish pianist Josu De Solaun has been invited to perform in distinguished concert series throughout the world, having made notable appearances in Bucharest, Venice, Saint Petersburg, Washington, DC, New York, London, Paris, Leipzig, and all major cities of Spain. He is the only pianist from Spain to win the Enescu and Iturbi competitions in their respective histories, and was recently invited to a private reception with the King and Queen of Spain at the Royal Palace after winning the coveted Bucharest prize.

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Excerpts of reviews for the previously released volumes in thi set:

Enescu: Complete Works for Solo Piano, Vol. 1

His technique is excellent here. The concluding Sonata 1 is shot through with harmonic twists and driving rhythms, handled expertly.

– AMG

Enescu: Complete Works for Solo Piano, Vol. 2

De Solaun is a wonderful pianist, especially in the colorful worlds of the Second Piano Suite.

– AMG

Enescu: Complete Works for Solo Piano, Vol. 3

De Solaun never makes heavy weather of Enescu’s demanding writing, but lets expression lead at all times, no matter how intense the virtuosity.

– BBC Music Magazine

The piano works of the largely self-taught Australian composer Raymond Hanson are unparalleled in 20th-century Australian music. Ranging over four decades they exemplify an iconoclastic spirit whose spontaneous writing is accompanied by a visionary wit and dynamism. This premier complete collection of Hanson’s piano oeuvre includes the Piano Sonata, Op. 12 – one of his greatest works, full of restless motoric rhythms and reflective contrasts – and many world première recordings, all performed by the award-winning pianist Tonya Lemoh. Australian/Sierra Leonean pianist Tonya Lemoh is known for her focus on unusual and exotic repertoire. She made her name on the international scene with her ground-breaking recording for Chandos of solo piano works by Austrian composer Joseph Marx. Praised by Gramophone magazine and All Music Guide, her concert appearances and recordings have since consistently garnered critical acclaim. Lemoh has won several international awards, including First Prizes in the ‘21st century Art Competition’ (International Association of Art and Education in the 21st Century, Helsingor 2003), and the Royal Academy of Music (Aarhus) Concerto Competition, and a Diplôme d’honneur in the International Edvard Grieg Piano Competition.

A student of Franck, Vincent d’Indy founded the Schola Cantorum de Paris where he taught for many years. He was also a conductor, with a busy schedule of international touring. His compositions were permeated by the influence of Wagner- he attended the premiere of the Ring cycle- but in time he also absorbed the influence of French folk music, especially from the Vivarais, his ancestral home. Vincent d’Indy’s large-scale Piano Sonata is one of a small but masterful sequence of non-programmatic instrumental works that he wrote in the first decade of the 20th century. Notable for a novel application of variation form in its opening movement it fuses experimentation with expressive power. Poetic atmospheres and landscapes are evoked in the Tableaux de voyage, postcards of his walks in Germany. The sonata was recorded in the castle Les Faugs in Ardèche, where d’Indy lived – the same place where the work was composed in 1907. Jean-Pierre Armengaud is today acknowledged as one of the great interpreters of French music, and has recorded critically acclaimed releases of Debussy, Roussel, Poulenc and Aubert for Naxos.

This world première recording of the second volume of José Antonio Bottiroli’s complete piano music, is performed once again by his award-winning protégé Fabio Banegas. The nocturnal themes heard in this album were inspired by the clear skies over the composer’s holiday home in Los Cocos, Cordoba Province, Argentina – these spellbinding works transcend earthly romantic concerns and venture into the stillness of the universe. Dedicated to Banegas, the Album Pages represent Bottiroli’s distinctive impressionist style, while the unique Five Piano Replies connects music with poetry written by the composer, and read on this recording by the renowned actor George Takei.

REVIEW:

Of Italian parents, José Antonio Bottiroli was equally to enjoy a busy life of a solo pianist, his portfolio of competitions numbering some seventy-three pieces by the time of his death in 1990. Their presence has only been revealed by his pupil, Fabio Banegas, whose initiative has lead to this Grand Piano series. They were never to engage with the use of atonality, but were tuneful and usually quite short, mostly gathered together to form scores of some length, the present release containing five works numbering 20 tracks. They covered the period between 1974 to 1984, the quiet nature of the Six Album Pages (Seis Hojas de Album) being particularly attractive, while much of the disc is taken up with Five Piano Replies (Cinco Replicas para piano). That work takes its name from the words of Bottiroli’s poems which then drew his own piano reply. Here the words are spoken by George Takei in English translations by Banegas, his diction is impeccable, though the words also come in the enclosed booklet. Much of the music on the disc only requires a modest technical ability and offer uncomplicated charm, Bottiroli being particularly drawn to the nature of the ‘Nocturne’, of which four are included here.

– David's Review Corner (David Denton)

J.S. Bach's genius is universally revered by music lovers, and a significant part of his output was in transcriptions of his own work, a tradition kept alive in Eleonor Bindman's piano versions of the Six Suites for Solo Cello. Eleonor Bindman has avoided embellishing these iconic pieces, preserving the intriguing ambiguities in Bach's implied harmonies and savoring their expressive qualities through the baritone register of a marvelous Bösendorfer piano. These admirably accurate transcriptions reveal the mysterious mathematical grace and flexibility of structure that makes Bach's art so organic and eternal.

REVIEWS:

Bindman takes him quite literally, transcribing in the register he wrote in, mostly, and clearly with enjoyment. Her tempos are sometimes faster than a cellist’s fingers might find practical, but her musical sense is excellent.

-- American Record Guide

Anthony Burgess, the world famous author of A Clockwork Orange, had been steeped in music since childhood, and during army service in the Second World War worked as a pianist and dance-band arranger. He wrote prolifically in many genres. His 24 Preludes and Fugues, called The Bad-Tempered Electronic Keyboard, were written to celebrate the 300th anniversary of the birth of Johann Sebastian Bach. This ingenious and inventive piece, with its brief romantic and music hall elements, not only pays homage to Bach but also references the modernity of Shostakovich, whose own set of Preludes and Fugues had been written in 1950. This is the world premiere recording of these works. These pieces are performed by renowned contemporary music interpreter Stephane Ginsburgh.

Argentinian composer, poet and teacher JOSÉ ANTONIO BOTTIROLI found his ideal means of expression in the Romantic idiom and in shorter forms of music. Exploiting the rich resources of the waltz, his pieces are infused with a remarkable range of moods, intimacies, real-life experiences and scenes from nature, as well as portraits of children and loved ones, such as the iconic Verdadero in honour of the composer’s wife – all played with the unique insights of his student and protégé Fabio Banegas. FABIO BANEGAS has appeared in recitals and as soloist in the United States, Europe and in his native Argentina. A recipient of numerous scholarships and awards in Argentina and in the US, he studied at the National University of Rosario (UNR) under Professor Nelly Gabús and Professor Anna María Cué, and earned a Masters of Music at California State University Fullerton (CSUF) under Dr Susan Svr?ek. Fabio Banegas is a specialist interpreter of the Argentinean composer José Antonio Bottiroli, of whom he was a student, and has given world premières of many of the composer’s works. He is currently based in Los Angeles.