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Fanfare

This is only the latest of several night-themed piano recitals that stimulate one’s imagination. Just recently, for example, I enjoyed a Stradivarius CD by Ciro Longobardi (Nuit) in which he paired Ravel’s Gaspard de la nuit with various nocturnes by Salvatore Sciarrino. Andrew Brownell’s program is, in some ways, conservative because it begins with the “Moonlight” Sonata and ends with Clair de lune, and includes two Chopin nocturnes. That will make a lot of people happy, and Brownell plays these works very well.

There are some surprises, though. None of them are nasty. One comes immediately, with the unusual yet very appealing sound of Brownell’s piano, which is a Blüthner Model I. Although Blüthner is regarded as one of the most prestigious manufacturers of pianos, I don’t recall seeing it often on CDs or in concert halls. (It was a favorite of Rachmaninoff.) The manufacturer’s CEO, Christian Blüthner-Haessler, praises its “dark, chocolate sound, with a sparkling treble.” It is well suited to this program, which contains a fair amount of dark, chocolate music, although some of the chocolate is bitter.

Another surprise is the inclusion of more unusual works—notably, a movement from Hindemith’s Suite “1922” and Lowell Liebermann’s Nocturne No. 5. It would be too easy to describe the latter as a Chopin nocturne with a lot of wrong notes, partly because these wrong notes are so right in the context of the whole work. The more I hear Liebermann’s music, the more I like it, and just the inclusion of his not quite seven-minute nocturne here encourages me to seek out more of his piano music. Overall, Brownell’s program reminds us that the night can be a time of trouble and unease, as well as a time to relax and to dream happy dreams. The only questionable performances on this CD, perhaps, are the two works by Couperin, but that’s because there will be people who resist the idea of this music being played on a piano, and who will more strongly resist the idea of playing it with as much Romantic-style affect as Brownell applies here. That’s their problem.

Brownell won prizes in several competitions (Leeds, J. S. Bach, etc.) about two decades ago. He was born in Portland, Oregon, received his doctorate at Guildhall, and now teaches at the University of Texas at Austin.

Two mysteries remain. If this program was recorded in 2015, why is it not seeing light of day (so to speak) until now? The second mystery concerns the cover photograph, which shows the pianist wearing sunglasses at night and walking along the shoulder of an urban highway. Did he have a flat tire? Is he hitching a ride? Do a talented pianist a favor and give him a lift to the nearest 7-11.

All kidding aside, this is a late-night program well suited for late-night listening. Brownell’s mastery of the material, and his ability to convey its sometimes complicated psychological content, is never in doubt. I would get this if I were you.