Composer: Frederik van Rossum
Works: Ballade Op.49 (1989), Twelve Preludes Op.44 (1985/6), In Memoriam Glenn Gould Op.43 (1984), Waves Op.51 (1990), Black and White Op.40 (1982)
Performers: Frédéric Menguy (piano)
Recording: René Gailly RG 87129 [66:48]
Label: [Not specified in the original text]
Frederik van Rossum, born in 1939, has carved a distinctive niche in contemporary piano repertoire, characterized by a nuanced exploration of emotional landscapes without succumbing to stylistic gimmickry. The present collection showcases a selection of his works spanning a critical period in his compositional evolution, including the substantial Twelve Preludes Op.44, which emerges as a hallmark of his artistic maturity. These pieces, steeped in lyrical introspection and technical acuity, resonate with the spirit of late 20th-century piano music while firmly establishing van Rossum’s unique voice.
Frédéric Menguy, a pianist of considerable talent, navigates these intricate scores with both sensitivity and technical prowess. In the Twelve Preludes, Menguy captures the shifting moods and complex textures with clarity and finesse. Each prelude, while distinct in character, is rendered with a cohesive interpretative vision that honors the composer’s intent. For instance, Prelude No.5, marked by its restless motion and poignant dissonances, is delivered with a deft touch, allowing the underlying tension to unfold organically. Menguy’s ability to balance the delicate interplay between melodic lines and harmonic depth is particularly evident in Prelude No.9, where he emphasizes the contrasting dynamics with a controlled yet expressive approach.
The recording quality is commendable, presenting a warm, resonant sound that enhances the piano’s tonal richness. The engineering captures the subtleties of Menguy’s playing, allowing the listener to appreciate the nuances of pedaling and articulation that van Rossum’s music demands. For example, the contrasting textures in Black and White Op.40—the left hand confined to the black keys while the right hand dances across the white—are rendered with an intricate clarity that brings the clever interplay to life. This technique not only commands attention but also serves as a testament to van Rossum’s innovative approach to form and color.
Van Rossum’s homage to Glenn Gould in In Memoriam Glenn Gould Op.43 is particularly poignant, as it channels the essence of Gould’s interpretative style through a contemporary lens. Menguy’s performance here exudes both reverence and originality, echoing Gould’s idiosyncratic phrasing while introducing a fresh perspective that invigorates the work. This duality of homage and innovation is a recurring theme in van Rossum’s oeuvre and is adeptly realized in Menguy’s interpretations throughout the album.
The collection stands as a significant contribution to the current catalog of piano music, particularly for those interested in the evolution of contemporary classical forms. Van Rossum’s capacity to blend formal rigor with an improvisatory freedom is a hallmark of his style, and this recording exemplifies that balance beautifully. Menguy’s interpretations, imbued with a deep understanding of the music’s emotional depth and technical challenges, provide an engaging listening experience that invites repeated exploration.
This recording not only affirms Frederik van Rossum’s stature as a composer but also highlights Frédéric Menguy’s skill as a performer who navigates the complexities of these works with both intellect and artistry. The warmth of the sound, the clarity of the performances, and the intrinsic beauty of the music create a compelling listening experience, making this album an essential addition to the repertoire for aficionados of contemporary piano music.
