German classical music blog The Listener, has a wonderful new review for our recent Arthur Foote: Complete Piano Music release. The review is translated into English below by Lindsay Koob and can be found in the original German at www.incoda.de.
An Exceptional CD: Arthur Foote — Complete Piano Music
An Absolutely Outstanding And Surprising Discovery
Our second “exceptional CD” for the month of September is – in my opinion – one of the discoveries of the year thus far … and in every respect. Here we have not only wonderful music that’s well worth discovering, but also an outstanding interpreter: one who deserves stronger focus from the musical press.
Let’s begin with the artist: Kirsten Johnson has given us an impressive series of fabulous CD recordings, mostly for Guild: the British mini-label. In these she has shown a great spirit of discovery – as in her album of Albanian piano music; likewise the piano works of Amy Beach and Heinrich Schulz-Beuthen. Her enchanting phrasing combines with her breathtakingly soulful delivery to produce tremendous emotional impact. Kirsten Johnson breathes life into her music. Her performances are genuine happenings: never mere “jobs” done for some CD label.
Now, for the American Delos label, she has taken on the heretofore virtually unknown piano music of the late-Romantic American composer Arthur Foote. And his music is the most sensational aspect of this new Delos release: Until now, I had absolutely no idea as to the greatness of Foote’s compositional personality in the realm of piano music. Certainly, those who have an interest in modern American music know him as “the eternal late-Romantic” who wrote lovely and substantial chamber music – and can acknowledge his few symphonic works with a familiar nod.
But what we have in Foote’s piano oeuvre is worthy of far more than just the polite applause of passing recognition. It is truly marvelous, highly original, beautiful and perfectly crafted music of exceptional lyrical-emotional substance and depth. Of all the American scene’s late-Romantic music from the turn of the nineteenth century and beyond, this is – in my experience – truly the most inspired.
With every note, Johnson shows her enthusiasm for these wondrously beautiful piano compositions that appear to bear the latter-day influence of Frédéric Chopin und John Field. But we also hear whiffs of Brahms and Beethoven in Foote’s music: a certain profundity and classy quality that one only seldom encounters. And while I mean neither to add nor detract from the music’s value, I must say that he wrote very “European” piano music. His pianistic roots lie entirely in continental Europe rather than with the growing British scene of his day, or – in the USA – alongside significant modernists like Ives or (later) Copland. Even the turn-of-the-century “Indianists” left no influence as they passed Foote by.
One can therefore say that Foote certainly wrote entirely conventional and comparatively conservative piano music. But it is nevertheless music of particular excellence, to a high degree that I can honestly say I hardly expected from these striking examples of Arthur Foote’s art.
Moreover, the sound quality is superior – which could perhaps have something to do with the album having been recorded in England’s acoustically proven Wyastone Leys concert hall that also contributes to the Nimbus label’s characteristically grand and spacious sound. It should therefore come as no surprise that we also find in the booklet the name of sound engineer Jonathan Lane, who is also active with prominent British Indie-labels like Appian or Guild.
In a nutshell, this fascinating 3-CD set is very close to the top of our short list of possible choices for The Listener’s “CD of the Year.” I think it’s safe to say that this album will continue to maintain its lofty position on our list of choices through year’s end.
— Rainer Aschemeier, The ListenerRead the review in the original German at www.incoda.de
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