Daniel Stephen Johnson was born in the desert and learned to play the violin. After studying viola and English at the University of Southern California, he wrote fiction at Columbia University. Then he moved to Connecticut, where he worked at a record shop and wrote about music, literature and comedy for the New Haven Advocate and the Believer. Now he lives in Bedford–Stuyvesant, Brooklyn, and works as a sheet music salesman in Queens.
Gloria Cheng and Calder Quartet Bring Messiaen and Saariaho to Light
Q2 Music Album of the Week for February 25, 2013
Monday, February 25, 2013
On their new CD, "The Edge of Light," the wildly adventurous West Coast keyboard virtuoso Gloria Cheng and the even wilder Calder Quartet help to contextualize Olivier Messiaen's titanic legacy by pairing a 1929 piano suite and a 1991 quintet with 21st-century pieces by Kaija Saariaho, Messiaen's heir apparent in the present day.
Messiaen's lovely Préludes for piano, especially in Cheng's assured and sensitive hands, easily make the case for the composer's aural appeal – it's hard to imagine a listener who could be intimidated by its rich, elegant harmonies. At only three minutes, the more bracing Pièce pour piano et quatuor à cordes makes up in density what it lacks in duration, and the Calders give their part the percussive bite it needs to let Cheng's luminous lyrical solos sing by contrast.
The liner notes by opera director Peter Sellars, an accomplished interpreter of both composers, tell us that the material from Kaija Saariaho's piano quintet, Je sens un deuxième cœur, comes from her opera Adriana Mater, but the Finnish composer's music responds so eloquently to the legacy of Messiaen that she might as well have written it for this album. Her musical voice, influenced by the spectralist blurring of distinctions between tone, pitch and harmony, is decidedly her own, but it achieves Messiaenic heights of beauty and intensity.
The sheer sensual pleasure of this repertoire would be enough to recommend this disc. But Saariaho's previously unrecorded Prelude and Ballade for solo piano, works of Chopin-like beauty and virtuosity, fill out the running time in luxuriant interpretations that seal the proverbial deal.
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