Whittall

Runsaan tunnin mittaisen kokonaisuuden onnistunut rakentaminen sekä sitä myötäävä paketointi kuvineen, graafisine ilmeineen sekä kiinnostavine jopa esteettisesti miellyttävine levyteksteineen puoltaa yhä musiikin julkaisemista fyysisinä albumeina. Siksikin tämä käyrätorvisti Jukka Harjun yhdessä muusikkoystäviensä kanssa rakentama uusi suomalainen kamarimusiikkilevy tekee vaikutuksen..

What the world needs more of is intelligently planned, stupendously played, and brilliantly recorded collections like this one. These two discs contain all the piano works of Michael Tippett, works that come from every period of the composer's very long life except his very last. It includes the youthful, tuneful Piano Sonata No. 1 written between 1936 and 1938 and revised in 1941, the massive Fantasia on a Theme of Handel from 1941, the exuberant Piano Concerto from 1955, the experimental Piano Sonata No. 2, the gnomic almost Beethovenian Piano Sonata No. 3 from 1973, and the gnarly post-Beethovenian Piano Sonata No. 4. It features a bravura performance by pianist Steven Osborne that makes the best case for all the music, no matter how outré or recherché its harmonic proclivities or rhythmic audacities.

I through-listened to this CD, although I did take a few breaks for a mince pie and a cup of tea. I consider this to be a ‘concept’ album, so popular with progressive rock enthusiasts in the 1970s. By this, I mean an album where the sum is greater than the several parts.

When, in 1931, Messiaen applied for his post as organist at La Trinité, he wrote to the curate to reassure him that he knew that ‘one must not disturb the piety of the faithful with wildly anarchic chords’. It is not known whether that curate was at La Trinité 20 years later, but it is hard to think of a more appropriate characterisation of the effect of Livre d’orgue than ‘wildly anarchic’, while Alexander Goehr has recalled how Messiaen’s organ-playing during the mid-1950s sounded like electronics. Michael Bonaventure’s playing may not have that effect, but he does get Messiaen’s music to lift off the page, even in the most rigorous pages of the Livre d’orgue. The organ of St Giles, Edinburgh, generally has the power and range of colour needed, with the fierce chords at the opening of ‘Les mains de l’abîme’ fizzing with tension. Slightly more power from the pedals would be welcome, notably in the dazzling central section of the fifth of the Méditations sur le mystère de la Sainte Trinité. Generally, though, this is a delight for the ears.