FENNELLY and THORNE PREMIERES

by Eugene W. McBride ©2004

Margaret Mills Piano Recital: Music of Gloria Coates, Brian Fennelly, Francis Thorne, plus Chabrier and Brahms, Weill Recital Hall at Carnegie Hall. Dec. 7, 2004.

This varied piano recital began with the familiar Op. 118 of Brahms. Following this grand work was Gloria Coates' Sonata No. 1: Tones In Overtones (1972). Quite a shift in styles to say the least. Equally at home in the music of these two periods Margaret Mills brought freshness and intelligence to both. Closing the program Ms. Mills performed compositions by Emmanuel Chabrier : Tourbillon and Improvisation (from Pieces Pittoresques ) and Bourree Fantasque .

Surrounding the intermission and of particular interest to our readers were the premieres by composers Brian Fennelly and Francis Thorne. Mr. Fennelly had two first performances in the program, Composition for Liam (1961, revised 2003) and Monogram (1996, rev. 2004). Mr. Thorne's Lyric Variations No. 9 for Piano (2004) was written for Margaret Mills and is dedicated to Michael Dellaira .

Mr.Fennelly's Composition for Liam (the birth of his son) is in two movements; “Restlessly and Extremely Quiet,” The first movement, as the title indicates, is continually in motion. It is a pianistic kaleidoscope. There is no time for contemplation as the sonorities continually evolve. From the initial statement of the pitch materials the disjunct, yet flowing, cascade of sound is unabated, Fennelly's pitch choices being third inversion major 7th chords (three notes only, that is an interval up a minorsecond, then up a major third from that pitch). These chords are related in a descending minor third relationship. This is only for the reader to comprehend the pitch relationships. The reader ought not think of these relationships as either chordal progressions or underpinnings for a melody but rather as pitch materials . Obviously molecular understanding of an organism does not give a picture of the organism just as pitch relationships (or any other structural components) do not inform the listener of the musical/emotional content of the music. “Extremely Quiet” is the second movement's tempo indication. This it is with quiet musical gestures interspersed with sudden sharp punctuations of individual notes or chords. As opposed to the continuous motion of the first movement the second movement employs silence and/or sustained sounds at a slow tempo to create the contrasting mood.

Metric complexity, extremes in range and sudden dynamic contrasts are now commonplace. In 1961 this was considered cutting edge. It is amazing that this composition still sounds refreshing and exciting more than forty years later. Monogram (1996, revised 2004), Mr. Fennelly's second premiere of the night, is a concise musical gem which shows a stylistic similarity in texture to the first movement of Composition for Liam . It finds its roots in Mr. Fennelly's language, his unique sonic vocabulary. It is Fennelly's choice of pitch relationships and always interesting rhythmic complexity which give such striking individuality, unity and musicality to these compositions. Though separated by thirty-five years, the composer's voice is remarkably consistent. Though few would consider Monogram jazz, there is that element in this work. As stated in the program notes, there are hints of vernacular rhythm that provide the music with a distinctive American flavor. Indeed, I hear it as jazz. Regarding Mr. Fennelly's music, you will either like the resultant combinations of material or not. I do.

Ms. Mills' performance of these works is so musical, so effortless that the compositions shine through as the glistening rays of inspiration that they are. What a joy to hear this music be so magnificently brought to life.

Francis Thorne's Lyric Variations No. 9, composed in 2003-2004, are ever so lyrical. They exemplify precisely what the composer wishes to express. The brief enigmatic opening (the beginning of Chopin's Cello etude or what?) leads to a short contemplative Andante theme of relaxed character (certainly walking), with steady quarter note chordal rhythmic movement. This brings us to the first variation, a dialogue between the two hands. It is as if as we are privy to an intimate conversation, two part invention style writing. Now in 6/8 meter we are no longer walking but rather dancing joyfully. Syncopation and sporadic trills move us into variation two. There is a quickening of tempo, as if there are children cavorting gleefully when suddenly chords (are authority figures shouting at them to stop?) break the dance. However, the dance continues until due to sheer exhaustion the children slow down of their own accord. Variation three returns to the andante-like material, now in 5/4, with more conversational independence. Enter the left hand with running eighth notes ( Chopinesque ?) giving more momentum when suddenly a triplet event announces a transition to variation four. Again back to the 6/8 feel of Variation One, trills and all. More syncopation and sharp dynamic contrasts. Chords interrupt giving us a premonition of what's to come in the next variation. Increase in tempo brings us to Variation Five. Here we continually vacillate between running notes and chordal interruptions. Sudden silence. What next? We wonder. A return to the andante-like lyrical writing, again in duple meter.

This sixth variation dialogue leads us to the last variation. An adagio reminiscent of Variation Three but in a more reflective mood, a slowing down of the conversation which brings us to a Coda, ending quietly and surprisingly on a major sixth chord. Perhaps this is a gesture, a tribute to Mr. Thorne's association with Duke Ellington. This is a wonderful composition. Virtuosic it is, yet there is also a serenity (these are not mutually exclusive terms) even in its most dynamic moments. It is, just as its title indicates, lyrical.

These compositions require of the pianist a formidable technique, outstanding musicianship and great sensitivity. Fortunately Ms. Mills has these attributes in abundance. To play the notes as written is one thing; to perform the music, that is something else. We were treated to more than a lot of notes at this recital - from the first note to the last there was the awareness of music flowing from the soul of a master pianist.