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Frederic RZEWSKI (b. 1938)
The People United Will Never Be Defeated! - 36 Variations on °El Pueblo Unido JamŠs SerŠ Vencido! (1975)
Ole Kiilerich (piano)
rec. May 2009, The Carl Nielsen Academy of Music, Odense, Denmark
BRIDGE 9392 [59:46]

This set of variations for piano is probably US composer Rzewskiís best-known work. His list of teachers reads like a Whoís Who of American music in the 1950s and 1960s, but despite teaching visits to the States Rzewski has made his home in Europe. Heís Professor of Composition at the Royal Conservatory of Music in LiŤge, Belgium.
As for the Chilean song on which this work is based, itís rooted in the Allende years of the early 1970s. After the Pinochet coup in September 1973 it became something of a rallying cry for those opposed to the new regime. Remarkably, itís since resonated with revolutionaries and exiles the world over.
Rzewski dedicated The People United Will Never Be Defeated! to the pianist Ursula Oppens, who recorded it for Vanguard in 1978; this pioneering performance has now been reissued on Piano Classics. Since then several keyboard virtuosi have recorded the piece, whose expressive range Ė rhythms, colours and dynamics Ė would strike fear into the hearts of all but the most fearless interpreters. Among the latter are Ralph van Raat on Naxos and Marc-Andrť Hamelin on Hyperion; both deliver highly charged and very individual performances, captured in superb sound.
The wild card here is the Danish pianist Ole Kiilerich, who is new to me. That said, he certainly has the right credentials for this work, as he specialises in contemporary music and has studied with Ursula Oppens in Boston and Stephen Drury in New York. The latter has recorded The People United for New Albion. Iíve chosen to compare this new recording with those by Oppens, van Raat and Hamelin. Oppens and Kiilerich donít offer any fillers, whereas van Raat and Hamelin include two each of the North American Ballads.
In the spirit of BBC Radio 3ís Building a Library we must whittle down the shortlist. The first to go has to be Oppens, whose whip-cracking performance is compromised by bright, shallow sonics and Ė on my copy at least Ė audible drop-outs. Thereís no denying the authority of her reading Ė itís an angular, almost brittle soundscape Ė but one only has to hear Kiilerich et al to realise she has been eclipsed when it comes to the finer details and nuances of the piece. True, Kiilerich, well recorded, is something of a slow burner. At first I felt he was a little studied, but subsequent auditions reveal a reading of uncommon sophistication and insight. His rhythmic control is exemplary, dynamics are subtly graded and the whole performance has a warmth and generosity of spirit thatís most appealing.
By contrast van Raat brings out more of the scoreís fractured/fractious qualities, while Hamelin offers the surest and most compelling narrative. The latter has remarkable fidelity and presence as well. That said, the Bridge engineers really do capture the richness and weight of Kiilerichís Steinway D. Thereís so much to admire in this performance; from those dancerly tunes and repetitive Ė yet beguiling Ė phrases to the sudden shouts and lid slamming, Kiilerich never fails to entrance or entertain. Indeed, there are times when Iíve felt the piece comes close to outstaying its welcome; thatís emphatically not the case here.
Returning to van Raat and Hamelin, itís impossible not to respond to their bravura playing; the muscularity and momentum of their readings makes a fine contrast with Kiilerichís, which is sensitively shaped and beautifully coloured. This is immensely seductive music-making, and I just know I shall return to Kiilerich again and again. Itís so often the case that apparently self-effacing performers and performances are elbowed aside by the more attention-grabbing ones; itís also true that the latter are likely to give up all or most of their secrets at first hearing. By contrast, Kiilerich unearths and illuminates something new each time, and thatís very rare indeed.
Time to tot up the scores; before Kiilerich I would have given Hamelin and van Raat the most points, but now Iím not so sure. This triumvirate benefits from good, modern sound, but what could swing it for some buyers is the fillers; in van Raatís case these are even more desirable than the main work. No, Iím going to take the cowardís way out and endorse all three recordings, as each has something valuable to say about this perennially fascinating piece.
Illuminating, even revelatory; Ole Kiilerich is a pianist to watch.
Dan Morgan