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This Debussy disc is full of early (1880s) and unfamiliar titles: Naxos does us a public service by making them available at all, but nothing here approaches the quality of the Petite Suite – apart from Printemps (the best-known piece, cunningly placed first on the disc), which cries out for orchestral colour, and maybe the 11-minute Divertissement. Most pieces are arrangements, and signs of the later Debussy are rare. Adrienne Soós and Ivo Haag are as persuasive as anyone can be: enterprising duettists can investigate for themselves at very little cost.

From four hands to eight, four of them on electronic keyboards. Colin Riley, formerly associate composer with the Bournemouth Symphony Orchestra and currently lecturing at Brunel University, has mixed classical, pop, spatial effects, improvisation and electronics to produce Skin and Wire. The result could be described as ‘fusion hybrid’, its best moments enhanced by the irresistible drive of legendary drummer Bill Bruford (also co-composer of Track 1).

Pianocircus’s performance is, as far as I can tell, ideal. In true pop album fashion, the liner notes are unhelpful and almost illegible: ignore, and just listen. Given the almost unlimited possibilities of the media, the music may strike you as samey, though exciting ideas abound.

MICHAEL ROUND Read the full review on Agora Classica

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Piano International, 2012 - ©Rhinegold Publishing