Dediu: Piano Pieces
Neos Classics NEOS 10713
Classical - Instrumental
Dan Dediu: Idyllen und Guerrillen Op. 76, The Grasshopper Op. 112, Lévantiques Op. 64 (excerpts), Sonata No. 4 Op. 60, Les barricades mystérieuses – reloaded
Dan Dediu (piano)
Valentina Sandu-Dediu (piano)
Review by John Broggio - November 8, 2008
A release that combines overt jazz influences with Debussy, the Baroque, the Neo-Classicism of Stravinsky and pretty much everything in between with a startling freshness that, for once, allows truly modern music to be widely recommended.
The opening "Idyllen und Guerrillen" contains an almost Second Viennese School take on the lyrical works of Messiaen as well as some strikingly rhythmical works. Joined by his wife Valentina Sandu-Dediu, Dan Dediu both play with conviction and real style. Much of the writing style is not unusual in terms of the compositional devices employed but the textures are very different to much piano duo playing. "The Grasshopper for the left hand (and...)" is a very demanding piece that uses the piano as a percussive instrument; interesting but not immediately accessible.
The three excerpts from Levantiques, "Betes nostalgiques", "Le vent du Transylvanie" and "Rock 'n' roll des Bogomiles" are written in a similar style to the "Idyllen und Guerrillen" but are necessarily less complex as they are written for one pianist only; many stylistic parallels are noticeable and the inclusion of the 'boogy-woogy' bass part way through the final excerpt is managed with great conviction.
The main work is the 9 movement Sonata No.4, in which Dediu by means of a theme and variations gives a post-modern pastiche on the keyboard suite (incorporating Couperin, Bach, Brahms and beyond). The use of sustained high trills in the concluding Fantasia enigmatica give a worthy nod to Beethoven. I leave it to other listeners to find their own connections in this deeply kaleidoscopic music. A small encore in the form of "Les barricades mysterieuses - reloaded" is a reworking of a piece by Couperin of the same name. The music has a largely tonal base and contains a lot of melodies (although some are carefully hidden!) and the composer is a very compelling advocate.
The recording is good without being exceptional in any way.
Copyright © 2008 John Broggio and HRAudio.net