New-music icon Ursula Oppens, who commissioned, premiered, and made the first recording of maverick American composer Frederic Rzewski’s The People United Will Never Be Defeated!, a remarkable, monumental set of solo piano variations, has rerecorded that landmark 1975 work to mark its 40th anniversary. This riveting, audience-pleasing tour-de-force is a nearly hour-long set of 36 variations on a popular Chilean protest song from the era of Augusto Pinochet’s repressive rightwing military dictatorship. A bonus is the world-premiere recording of a new Rzewski work, Four Hands, a duet commissioned by and written for Oppens and pianist Jerome Lowenthal, her duet partner on the recording. Fiercely challenging to perform, it leaves the listener “… absorbed and exhilarated…” (New York Times) Oppens’s Cedille Records discography includes two Grammy nominees, Oppens plays Carter and Winging It: Piano Music of John Corigliano, as well as a recording of duo-piano music by Messiaen and Debussy, again with Jerome Lowenthal.

REVIEW:

Frederic Rzewski wrote his monumental variation set based on Sergio Ortega’s Chilean resistance anthem song “El pueblo unido jamas sera vencido” for pianist Ursula Oppens, who premiered it in 1976 and made its first recording a few years later. It’s a fine performance in and of itself, yet Oppens’ stupendous new 2014 recording for Cedille surpasses the earlier version in every respect. 

The opening theme, for starters, is more impassioned at its loud peaks, while the first six variations gain energy and character through Oppens’ heightened sense of voice leading. The dissonant grace note effect of Variation 7’s two-against-three rhythmic patterns is clearer than what many pianists make of it, while Variation 9’s counterpoint benefits from Oppens’ drier, more cogently contoured rethinking.

Variation 10’s splattered, Boulez-like gestures and zigzagging glissandos may not transpire so “recklessly” as the composer indicates, yet the inner logic of his meticulous dynamic markings comes out in Oppens’ faithful rendition. Variation 15’s improvisatory, folk-song-like quality spills over into more elaborate territory in Variation 16. Most pianists (Rzewski included) sustain a similar mood and tone between these two variations. Not Oppens, whose feathery pianissimos and una corda pedal deployment at No. 16’s outset create a magical tonal shift that accurately reflects what’s marked in the score.

Variation 19’s jagged motives, so often pounded out on the same dynamic and emotional level, convey a playful, conversational repartée. Young speed demons who insanely blur their way through Variation 21’s relentless finger twisters have no clue of the wonderful harmonic content that Oppens’ “sanely” fast fingers bring out. However, one can argue that Oppens’ faster and lighter treatment of Variations 26 and 28 plays down the music’s grim, march-like gravitas in contrast to Rzewski’s slower, sharper-edged interpretation. Just before the theme returns, Rzewski gives pianists the option to improvise a cadenza; Oppens’ first recording didn’t include one. Here, the pianist’s short, lyrical, and absolutely lovely improvisation incorporates ideas from Variation 25.

Overall, Oppens’ virtuosity, musicality, and insightful inspiration add up to the most gratifying People United on disc, alongside Rzewski’s own 1986 HatArt label recording (out-of-print on CD, but available as a download). The recorded premiere of Rzewski’s more recent and delightfully inventive Four Hands features Oppens and Jerome Lowenthal relishing the music’s tricky rhythmic hockets, airy contrapuntal traps, fleeting allusions to Romantic fare, and jazzy final fugue with masterful glee. No lover of 20th- and 21st-century piano music should miss this important release.

-- Jed Distler, ClassicsToday.com

Pianist Ursula Oppens, stalwart champion of 20th- and 21st-century American music and recipient of multiple Grammy nominations and other honors, celebrates her decades-long friendship and professional association with composer Laura Kaminsky on an album of world-premiere recordings. The program includes two recent works written for the pianist: Kaminsky’s Piano Quintet, performed with the Cassatt String Quartet, “a concise work of considerable substance and atmosphere” (New York Classical Review) and the turbulent Reckoning: Five Miniatures for America for piano four-hands, with pianist Jerome Lowenthal, created expressly for this recording. A large-scale Fantasy for solo piano explores sonorities from French Impressionism to jazz. Oppens gave the New York premiere in 2017.

Kaminsky’s Piano Concerto was inspired by visual images of sunlit rivers in New York City and St. Petersburg, Russia, where Oppens gave the world premiere with the St. Petersburg Chamber Philharmonic led by its artistic director Jeffery Meyer. On this world-premiere recording, Meyer, who is also director of orchestras at Arizona State University, conducts the ASU Symphony Orchestra.

REVIEW:

The solo piano Fantasy is just that, an imaginative fantasia piece that moves in unexpected directions at Kaminsky’s whim. A few hints of jazz rhythm come and go in it as well as a remarkable passage in which the two hands play completely different and opposing lines against each other. Interestingly, this Fantasy is longer than the entire Piano Quintet and only eight seconds shorter than the entire Piano Concerto that ends the disc. More and different permutations follow within that time span, all of them unexpected and interesting. These performances, all first recordings of these works, are all excellent, which helps us to appreciate Kaminsky’s sound world. Highly recommended.

– The Art Music Lounge

Titan of the contemporary keyboard, Ursula Oppens is a rarity among artists living today. She is the stalwart bearer of a mid-century musical torch that apparently burns eternal. How fortunate we are to have such musicians as Oppens still making music with fortitude, passion and tireless faith.

Oppens wields her piano at the album’s centre, steering a varied vessel with consistent skill and surety. Even in brief piano passages, as she peeks out from dense ensemble material, Oppens’ artistry sings unmistakably. The 20-minute solo Fantasy (2010) should be considered a tour de force in and of itself. When it comes to a career such as Oppens’, dedication and staying power carry the day. May she always urge us to listen close and listen well, ever compelling our ears toward the future.

-- The WholeNote

Michael Stephen Brown's debut album as a composer of all-original works has it all: tributes, emotional detours, and even a breakup etude he probably should've kept under lock and key, you'll find lost loves, lifelong mentors, children who never grew up, an arrogant violist - because what's an album without one? - and a legendary pianist couple who walk twelve blocks daily reciting poetry to each other. Performers include Jerome Lowenthal, Ursula Oppens, Anne-Marie McDermott, Osmo Vänskä, Erin Keefe, Susanna Phillips, Paul Neubauer, and Brown himself.