RECORDING OF THE MONTH • by ANDREW EALES
Showcasing an inspiring recent piano recording.
I concluded my review of Romance, young British pianist Isata Kanneh-Mason’s debut recording for Decca a couple of years ago, writing:
“As a recording debut, this release is impressive indeed; after so thrilling an introduction, I can’t wait to hear what Kanneh-Mason does next.”
Well that wait is now over, and Kanneh-Mason’s second CD is with us. Summertime is a joyous celebration of vibrant 20th century solo piano compositions that draw from the deep well of the American repertoire.
With the sort of programming one might associate with Lara Downes, the new album includes compositions by Gershwin, Copland, Barber, Beach, and the world premiere recording of Coleridge-Taylor’s Impromptu No.2, a poignantly evocative piece that I hope will belatedly find its place in the wider repertoire…
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SHEET MUSIC REVIEW • by ANDREW EALES
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American composer Amy Beach’s significant contribution to the solo piano repertoire is finally beginning to receive the recognition and popularity it rightly deserves.
Beach (1867-1944) remained a hugely committed and prolific composer, even though much of her output received little attention in the first half of her career.
Her music is avowedly conservative, doing little to advance on the language of the early Romantic era composers, Schumann, Chopin and Liszt. And yet there is certainly a timelessness to its appeal that continues to speak to audiences and connect with players.
Hal Leonard’s 2013 publication Piano Music of Amy Beach offers an enticing introduction to this important composer’s work, and has recently been reprinted (in part because it is a core text for America’s National Federation of Music Clubs Junior Festivals programme for 2020-24).
The collection offers ten intermediate to advanced solo pieces selected from across Beach’s long career by Gail Smith. Let’s take a look…
Continue reading Piano Music of Amy Beach