Nadia Shpachenko’s Poetry of Places


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This is another in an ongoing series from various labels which are publishing a selection of repertoire chosen by artists who define themselves by their individual approaches to new and recent music.  Kathleen Supove, Sarah Cahill, R. Andrew Lee, Lisa Moore, Liza Stepanova, and Lara Downes come to mind as recent entries into this field.  In the past similar such focused collections has opened many listeners minds to hitherto unknown repertoire.  One would have to include names like Robert Helps, Natalie Hinderas, and Ursula Oppens, all of whom produced revelatory adventures into the world of new and recent piano music in historical landmark recordings. (A recent such collection by Emanuele Arciuli was reviewed here).

On this Reference Recordings disc Nadia Shpachenko presents a series of works, many commissioned for her, of piano music whose focus is architecture, buildings, facades, etc.  It is a curious and unique angle on choosing new music.  There are 11 pieces here all involving Shpachenko at the piano but sometimes with various combinations of electronics, another piano, and a couple of percussionists.

Strictly speaking this is the third disc by Shpachenko featuring new music.  Last year’s “Quotations and Homages” and 2013’s “Woman at the Piano” are doubtlessly worthy precursors to the present disc.

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These works are neither trite nor easy listening.  They are new works and one can get lost in their complexity worrying about the way in which architecture is incorporated.  Or one can listen simply to hear the gorgeous sounds (this is a Reference Recording) of the introductory interpretations by a master musician of works which may or may not become repertory staples but whose substance deserves more than a passing listen.

I won’t go into any detail about these works except to say that the disc seems to have been well received by virtue of the amount of reviews it received on Amazon (I am frequently the first and only reviewer on Amazon when it comes to new music such as this) and those reviewers seem to have heard this release in a way similar to what this reviewer has experienced.

Shpachenko is an important artist who, along many of the artists mentioned at the beginning of this review, is pointing the way to some of the best music currently being written.

Prokofiev, Classic Film Scores


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Strictly speaking this is a recording a a film score suite and a cantata derived from a film score but these are perhaps among the finest examples of film score music.  The earliest piece here is actually Prokofiev’s first commission, the 1934 Lieutenant Kije.  This film (released in the US under the title of “The Czar Sleeps”) is a satire/comedy film based on a novella.  The score is by itself very tuneful and entertaining and deserves to be heard more often.

The larger work here, Alexander Nevsky (1938), the cantata extracted one year later from the film score by the composer is of course the score to one of the early masterpieces of cinema.  The film is the slightly fictionalized account of the reign and military prowess of one Alexander Nevsky (1200-1263).  It is without doubt one of the most successful pairings of image and sound at its time.  One need only listen to a snippet of John Williams’ score for the battle on the ice planet in the Star Wars series to hear the homage he gives to this score.

Both works here receive a very fine performance and recording by the Utah Symphony conducted by Thierry Fischer.  He is assisted by the Utah Symphony Chorus, the University of Utah A Capella Choir, and the University of Utah Chamber Choir under the direction of Barlow Bradford as well as soloist, mezzo soprano Alisa Koslova.  Fischer’s tenure would seem to be the surest and most successful since that of the much lauded and beloved Maurice Abravanel.  In addition we have here a recording by the reliably high quality Reference Recordings label.

Many collectors will already have a recording of Alexander Nevsky but this performance and recording, along with the inclusion of the earlier film score make this a marvelous addition to any library.  And if you have one of those fabulous sound systems you will hear the intricate detail of the recording and feel those bass drum thumps most viscerally.  This is an exciting release of exceptional quality on all fronts.