After releasing Camille Saint- Saëns’ Carnival of the Animals back in 2020 (review), the Kanneh-Masons follow up on their family debut with this new project, titled River of Music. While some selections like Schubert’s Trout Quintet make actual references to water, the overarching theme treats rivers more figuratively.
Samuel Coleridge-Taylor has featured on some of the family members’ individual albums, such as Isata’s 2021 Summertime (review). Her arrangement of Deep River for ensemble (track 1) is nicely done, allowing everyone a chance to bring the peaceful yet soulful melody to light—something each member does with care and sincerity.
Among the other transcriptions, I especially enjoyed Brianna and Aminata’s arrangement of John Hughes’ Calon Lân (track 4). Their setting of this Welsh hymn brings out an interesting juxtaposition of sparseness (I use this term in the best way) and the huskiness of the violins’ timbres. The dynamic arrangement starts introspectively enough, but continues to develop into something more effusive and passionate.
As in their other albums, the Kanneh-Masons often make it a point to feature a wide range of musical genres. The second half of River of Music balances out the non-classical fare with works by Handel, Chopin, and Schubert, among others. The Largo from Handel’s G minor Trio Sonata (track 5) shows the familiarity and cohesiveness of the ensemble. Melodic lines are seamlessly dovetailed, harmonies flawlessly blended, and the peaceful beauty of the work finely rendered.
Elgar’s Sospiri (track 6) finds another member of the Kanneh-Mason family, Konya, at the piano. While both Isata and Konya are solid musicians in their own right, there was something especially captivating about the subtlety with which the latter approaches this work. Konya’s tone, however mellow and gentle, still exudes a glow that complements the plaintive edge of the violin melody. The result is a poignant and ultimately convincing rendition.
A third pianist, Jeneba, takes on Chopin’s Fantaisie-Impromptu (track 7). She possesses a similar finessed tone as her sisters, yet in this case, it feels at odds with the sweeping and urgent character of the piece. Turn to Daniil Trifonov’s rendering from his Chopin Evocations (DG) to hear a pianist that successfully bridges melodious nuances with more expansive drama.
Violist Edgar Francis and double bassist Tony Hughes join Braimah (violin) Sheku (cello), and Isata (piano) in the album’s centerpiece—Schubert’s Trout Quintet. The group brings out Schubertian refinement in an elegant rendering of the Allegro Vivace (track 10), though I did feel some of the passages could use more vivacity via sharper staccatos. Fortunately, the Scherzo (track 12) brings out what was wanting earlier: the ensemble’s accents provide a jubilant jolt, upholding the movement’s zest.
Given the many chances the composer gives the first violin to sing, it’s a shame that it sounds too subdued and far from the mic throughout. The first variation in track 13, however, does have a nice rhythmic swing, thanks to the bass’ resonant pizzicatos. In the third variation, the piano exudes tasteful virtuosity in the glossy fast passages. The lower strings get their moment in the fourth variation, bringing welcome warmth and depth.
The eclectic curation, varied collaborations, and strong performances on the whole make this album a refreshing and wholly fulfilling listen. I enthusiastically await the next family project the Kanneh-Massons have in store.
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Album Details |
|
|---|---|
| Album name | River of Music |
| Label | Decca Classics |
| Catalogue No. | 4871265 |
| Artists | The Kanneh-Masons |
