I’ve been dipping into this fluent sampler between more difficult stuff, enjoying Halffter’s compact brightness and Santinelli’s flair and execution.
Played in keeping with the epoch, Casals renders Blasco de Nebra’s unexpected dissonance and striking rhythms as the more exciting.
Coming off a Haydn year (2009), we’re awash in the man’s music. The piano sonatas are numbered according to Christa Landon’s ordering of the extant 62.
No desiccated embryos here. The LTM pair enshrines Satie compositions from the early to mid-1890s, the period preceding the ironic collections with the wacky titles.
Upon consideration, Fray’s programming makes sense: Both composers, lording over their respective periods, required and require subsequent generations to instigate new styles and techniques.
Debussy and Messiaen live on in the filigree and chords of Murail’s poetic piano compositions.
Having negotiated the 20th century’s main styles, Silvestrov abandons them for an introspective Romantic cloud.