This CD gets its name
from the first item, an extraordinary,
coruscating, whirlwind of a miniature
by Paul Whitty bringing to mind some
of Ligeti’s studies. Quite a start and
a sign of what is to follow.
A similar sound-world
can be found in Xenakis’s typically
uncompromising ‘Evryali’ particularly
as it forces towards its climax. Also
one can hear its antecedents in Messiaen’s
1940s piano works such as ‘Canteyodjaya’
with its quirky accents and serialized
dynamics.
In between these pieces
is ‘Zeitlin’ by Max Wilson (who is also
a practising psychotherapist). This
treads a wobbly course midway between
Conlon Nancarrow and Thelonius Monk;
too short to make its presence felt.
We are told that Paul
Newland’s ‘….Butterfly Dreaming…..’
has its origins in Satie. And here I
should mention Philip Howard’s booklet
notes which take a refreshingly new
tack, in that they give us some basic
facts about each piece. For instance
"Newland is fascinated by music
that contrasts apparent similarities
with real differences, for example Satie’s
‘Trois Gymnopédies’", with
his own brand of musical philosophy.
Nowhere is this so noticeable or so
fascinating as when he comments on Morton
Feldman’s ‘Palais de Mari’, the longest
work recorded here and one which ends
the CD: "The saddest thing about
today is that when tomorrow comes it
will be lost forever. The pain of parting
from the past weighs heavy on the heart".
Wonderful stuff, ideal for this record
label which is trying to forge its own
unique image, and very helpful to the
listener as Feldman’s twenty-six minutes
of stillness passes in front of you
almost literally making time stand still
No-one who knows the
work of Michael Finnissy (one of Philip
Howard’s teachers) would deny that he
is a total original in British music
and wonderfully prolific … perhaps overly
so. His piece which rolls on for well
over twenty minutes is part of a multi-part
cycle ‘The history of Photography in
Sound’. Its opening is a slow development
of very quiet lines punctuated by silences
which gradually diminish. After being
lulled into a trance-like state brought
about by seamlessly evolving counterpoint
there is a sudden burst of wild activity.
This happens at approximately eight
minutes in. I can only say, and please
forgive the analogy despite its accuracy,
that this sounds as if a group of four
year olds have been let loose on a piano
to play anything they wish all at once.
After a short time all is suddenly calm
for well over ten minutes before a similar
but briefer outburst comes towards the
end. The coda, as it were, restates
the mood and ideas of the opening. At
twenty-two minutes the work is simply
too long and Finnissy should learn from
Britten who said that the composer’s
best ally was the waste paper bin.
It is with some relief
that Feldman’s last piano work appears.
It alone is worth the money for the
CD.
As for Philip Howard,
I am full of admiration. This is his
debut album. In 2003 he was the first
British pianist for 35 years to win
first prize in the International Gaudeamus
Interpreters’ Competition. Technically
he is totally assured in this challenging
music. On top of that he has an innate
ability to discover and use piano colour.
This is just what is needed in this
kind of repertoire; tough music but
with a soft heart which needs to be
found by performer and listener alike.
However the rather boxy studio recording
does not help. I can only try to persuade
The Divine Art to look elsewhere for
recording venues for its solo piano
recitals.
Gary Higginson
see also review
by Colin Clarke
Philip Howard (piano) 
