Works by Gershwin, Still, J Perry, Aaron Jay Kernis, Andrew Armstrong
Andrew Armstrong (piano)
Rubicon RCD1112 69:06 mins
For several years now, evenings at my home have been punctuated with shrieks, tantrums and tears that often only subside well into the night. The children beyond our shared wall probably wouldn’t recognise the structure of Aaron Jay Kernis’s Before Sleep and Dreams, which tracks the progress of aspirational bedtime hygiene, with movements including ‘Play Before Lullaby’ and ‘Lights Before Sleep’.
Pianist Andrew Armstrong juxtaposes naivety in simple staccato melodies with concern borne by the parent, depicted in nostalgia-twinged twinkling tunes. Like Debussy’s Children’s Corner, the suite can be mined for deeper meaning – or simply enjoyed as the intended night-time aid. Armstrong’s central Lullaby is blissfully calm – I’ll be certain to turn it up loudly tonight.
The album title In Blue naturally relates to Gershwin’s Rhapsody, heard here in the composer’s own arrangement for solo piano. Armstrong’s performance is hugely enjoyable: the iconic clarinet glissandos are featherlight, although I would prefer a little more bite to the sprawling orchestral motif. Two other Gershwin works are also included: the Three Preludes that foreshadow melodies heard in Porgy and Bess, and I Got Rhythm. Armstrong shades phrases with a painterly touch; some detail is lost in quieter sections due to the recording.
Perhaps most interesting is Nadia Boulanger pupil Julia Perry’s minuscule Prelude, which moves through harmonic centres with subtle confidence; Armstrong’s percussive take on the largely chord-based language recommends this lesser-known piece. Similarly, William Grant Still’s rarely heard Three Visions– conjuring apocalyptic horsemen, heavenly lights and luminous peace through shifting styles – benefits from Armstrong’s Debussyian approach. ‘Radiant Pinnacle’ stands out for its shimmering lyricism and Satie-like emblems that bring Gallic charm to this all-American album.