With nine world premieres, pianist Inna Faliks’ new album puts a “reimagined” spin on two composers. Beethoven’s Op. 126 Bagatelles are presented in alternation with more contemporary ones written by Peter Golub, Richard Danielpour, and others. Ravel’s Gaspard de la Nuit serves as the basis for outputs by Timo Andres, Paola Prestini, and Billy Childs. This is not necessarily the first project of its kind (David Greilsammer’s successful “Labyrinth” operates on a similar concept of ‘old’ and ‘new’ and also features Beethoven Bagatelles – Reviewed here) but the works are eclectic and intriguing.
Faliks pairs the Bagatelles – a modern one is followed by its original Beethoven counterpart. This is a clever choice: putting the “original” first would indeed provide some frame of reference but might also encourage too much comparison. The presented order instead highlights each contemporary take. The first two tracks, for instance, center around Op. 126 No. 1. Peter Golub’s Bagatelle initially retains clear parts of Beethoven’s melody, but a dissonant bass-line already lurks from the start. As we move forward, the melodic connection dissolves and is replaced by a more textural and motivic one (i.e. the staccato passages that resemble the ones in the original). Faliks’ performance is imaginative, as she treats harmonic clashes like an eccentric persona that insists (an eventually succeeds) in making its presence known.
The original (track 2), sees some more rhythmic fluidity than, say, Paul Lewis’ 2020 recording (I personally like the latter for its soothing consistency, reviewed here). Personal preferences aside, however, Falik’s tone is undeniably lovely: round, full, and warm even in its more quiet moments.
Richard Danielpour’s Childhood Nightmare (track 5) is an impressive effort from both composer and pianist. Where Golub treats his Bagatelle with an off-kilter but harmless impishness, Danielpour transforms the original’s Cantabile et Grazioso into something ominous and frightening. These elements are not immediately obvious, though. The first few moments, calm and expansive, make us wonder if the nightmare actually exists. Like Golub, Danielpour lets the disquietude creep in but before we know it, there is a cataclysmic eruption at the halfway point. In the wake of Childhood Nightmare, the original Op. 126 No. 3 that follows (track 6) feels especially like a realm of safety and comfort.
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As for the Ravel-based works, the two Variations on a Spell by Paola Prestini are excellent. While Prestini adapts certain patterns and elements from Ondine (like the fluttering arpeggios or the use of the upper register), her works are distinct. Falik’s pristine tone quality in Water Sprite (track 13), captures the essence of clear, blue waters but also introduces a more lamentful and brooding sprite: a solitary figure that contrasts with Ravel’s playful, tempestuous mermaid. Water Sprite also has a less programmatic and more atmospheric feel generally; however, it is just as creative and enjoyable. Bell Toll seems like a bridge between Ondine and Le Gibet, with the crystalline tones seemingly representing not just one bell that Bertrane refers to in his poem, but multiple ones.
Speaking of poetry, Timo Andres’ Old Ground offers another novel interpretation of Le Gibet. Andres aims to “examine how Bertrand’s poem romanticizes the image….of a corpse at sunset,”an ambitious endeavor given the precedent that Ravel had already set. What we get in Andres’ version is abstract and musing, yet still lucid and no doubt beautifully conceived. The initial crash of the jarring sound cluster gives way to a surprisingly minimalistic exploration of sound and harmony (reminiscent in some respects of John Adams). The shift of “tonal” centers are interestingly chosen and Faliks, too, gives a solid performance that upholds the larger framework and gives it a narrative quality. For example, she reserves full power for the climactic middle point, whose textures circle back to the concept of the cluster. The dénouement offers up another change: the short appearance of melodic material amidst the chords has a tragedy to it. A surprise awaits, however, when Andres creates symmetry in the final moments with a restatement of the opening material.
The sound engineering is pretty good here, bringing out the range of the piano tone quality and musical sensibilities. It’s no easy feat to garner the listener’s interest with an album of so many new and unfamiliar works. Faliks, however, has definitely succeeded in presenting a collection of fine compositions with conviction. Highly recommended.
Reimagine – Beethoven and Ravel
Beethoven – Bagatelles, Op. 126
With works by Peter Golub, Tamir Hendelman, Richard Danielpour, Ian Krouse, Mark Carlson, David Lefkowitz, Paola Prestini, Timo Andres, Billy Childs
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