Clavier Companion - January/February 2012 - 53

thick, cream-colored paper that feels artistically decadent. Like most pedagogical collections, this edition of Satie’s popular Gymnopédies and the first three Gnossiennes provides background on Satie’s life and work, along with performance suggestions. Edwards’s discussions of the pieces help point the pianist’s ear in the right direction; for example, he writes that “half-pedal will help clear some of the sounds, while maintaining a beautiful ‘liquid’ sound.” The editing is tasteful, with just the right amount of suggested fingerings, and dynamic markings that are generally consistent with early editions. In the Gymnopédies, Edwards makes the somewhat questionable decision to move the phrase-defining crescendos and diminuendos from the top of the staff to the middle, though they are clearly meant to refer solely to the right-hand melody. However, I appreciate that here—unlike in some editions—the Gnossiennes are written without time signatures, as the composer indicated. The lack of written meters is vital to understanding these pieces, as it both anticipates twentieth-century notation and looks back to the medieval chants that inspired Satie. The most disappointing aspect of this edition is the quality of the recording. The performance is labored, with an overly thick texture and a lack of color and shad-

ing. The melody line is often interrupted by unintentional accents, and sometimes does not follow the dynamic markings indicated in the score. The harmony is generally too heavy, and the performer often takes time in a way that feels unsettled, rather than gracefully intentional. I recommend this edition for the score and the performance notes, but suggest that pianists seek out recordings by JeanYves Thibaudet and other artists. (Schirmer/Hal Leonard, $9.99) K.E.
(S4-5) Melodies of China: Playing Chinese Folk Songs on Piano, arranged by Zhang Zhao. This outstanding collection contains twenty folk tunes expertly arranged by Zhang Zhao, who also performs the pieces on the enclosed CD. The selection is diverse, featuring music from multiple Chinese provinces (including Henan, Jiangsu, Shaanxi, Sichuan, and Yunnan) and from regions in Northeast China. Some of the more interesting pieces are based on songs from China’s ethnic minorities, including the Dai, Gaoshan, Hani, Jingpo, Kazakh, Mongolian, Tajik, Tibetan, Uyghur, and Wa peoples. These arrangements are a far cry from the simple pentatonic Chinese tunes famil-

iar to most Western ears: the styles range from tender to percussive, from lyrical to humorous. Zhang’s contemporary harmonies are tasteful and compelling, but never detract from the focus on the melodies themselves. At times the listener may hear shades of Kabalevsky, Bartók, or even Debussy in these arrangements, but the folk tunes themselves are unmistakably authentic. Teachers will find many delightful gems in this collection. “Mayeela” from the Kazakh minority and “Wa Folk Song” from the Wa minority in Yunnan Province captivate with their driving rhythms. The Tajik “Why Are the Flowers So Red?” haunts with Arabic-style harmonies and ornaments. The orchestral “Yellow River Boatman’s Song” from Shaanxi Province is reminiscent of Debussy at his most atmospheric, while the Uyghur “Alamuhanrh” is dancelike with playful syncopations. Most of these late-intermediate pieces are short, one-to-two pages long. Students will enjoy a diversity of key signatures and a wide variety of articulations and dynamic shadings. This volume would be an excellent repertoire supplement, offering a variety of student recital pieces and even a few engaging encores for professional musicians. Highly recommended. (Schott/Hal Leonard, book and CD $17.95) V.C.M.

JANUARY/FEBRUARY 2012

CLAVIER COMPANION

Clavier Companion - January/February 2012

Table of Contents for the Digital Edition of Clavier Companion - January/February 2012