Classical piano works have been both explicitly angelic and demonic since long before this
Warner Classics
release by
Andrew von Oeyen
came along, but the pianist executes the themes, and the contrast between them, with an appealing combination of depth and fun. The angelic works gain in density and intensity as the program proceeds, beginning with the crystal clarity of
Bach
's
French Suite No. 5 in G major, BWV 816
(
von Oeyen
is turning into a
pianist with a lot of flair), and reaching a climax with the "Régard de l'Eglise d'Amour" movement of the
Vingt Régards sur l'Enfant-Jésus
of
Messiaen
. When he turns from the angelic to the demonic, it's often with a half-step move for the tonic of the new piece, as if to suggest that angelic stasis is doomed to be disrupted. And the demonic pieces are, to be honest, arguably more fun. There's not only
Liszt
, where
has the right flamboyance in the
Mephisto Waltz No. 1
, but also a pair of fine keyboard rattlers from
Edward MacDowell
, who one tends to forget was a
student, and one much praised by his mentor. Sample
The Witches Dance
from the
Two Fantasy Pieces, Op. 17
; neither of the
MacDowell
pieces is played much, but
makes a good case for both. At the end, where there wasn't exactly a piece available that fit
's idea of a return to angelic serenity, he reached out and arranged one, the "In Paradisum" movement from
Fauré
Requiem, Op. 48
. This is a piece one wouldn't exactly imagine on the piano, but like everything else here, it's done with a sense of confidence and purpose. A strong recital with some rare twists. ~ James Manheim