Vanessa Benelli Mosell studied with Karlheinz Stockhausen
in his old age. Whether this makes her an authoritative interpreter of
the Klavierstücke, specifically the one here extracted from the giant
Licht (Light) opera cycle, may be debated. But she certainly gets the
energy in this work, one of Stockhausen's
most accessible, and she enters enthusiastically into its jazz accents
and exotic vocal effects. The bulk of the program here, however, is
devoted not to Stockhausen but to Alexander Scriabin. The "light" theme is intended to apply to both composers, but the early works of Scriabin
performed here, the 24 Preludes for piano, Op. 11, and the even earlier
3 Pieces, Op. 2 and Etude, Op. 8, No. 12, carry little hint of the
synaesthetic experiments to come later in Scriabin's career. Mosell
seems to admit as much in the interview-style booklet, where she turns
first to the totalizing tendencies of these composers. Nevertheless, the
program holds together reasonably well on its own (and it's noteworthy
to see the name Stockhausen on a major-label release). Mosell
has a rather explosive style in the Preludes, which see the composer
breaking out into his mature idiom. You could sample one of these very
short pieces, such as the 47-second "Allegro agitato," for a taste of Mosell's style. The more Chopin-esque pieces in the middle of the program then take on the character of an interlude before the more extreme sound world of Stockhausen.
This is the kind of release that makes you want to hear more from the
performer involved, even if it does not succeed in every respect. (James Manheim)
Vanessa Benelli Mosell studied with Karlheinz Stockhausen
in his old age. Whether this makes her an authoritative interpreter of
the Klavierstücke, specifically the one here extracted from the giant
Licht (Light) opera cycle, may be debated. But she certainly gets the
energy in this work, one of Stockhausen's
most accessible, and she enters enthusiastically into its jazz accents
and exotic vocal effects. The bulk of the program here, however, is
devoted not to Stockhausen but to Alexander Scriabin. The "light" theme is intended to apply to both composers, but the early works of Scriabin
performed here, the 24 Preludes for piano, Op. 11, and the even earlier
3 Pieces, Op. 2 and Etude, Op. 8, No. 12, carry little hint of the
synaesthetic experiments to come later in Scriabin's career. Mosell
seems to admit as much in the interview-style booklet, where she turns
first to the totalizing tendencies of these composers. Nevertheless, the
program holds together reasonably well on its own (and it's noteworthy
to see the name Stockhausen on a major-label release). Mosell
has a rather explosive style in the Preludes, which see the composer
breaking out into his mature idiom. You could sample one of these very
short pieces, such as the 47-second "Allegro agitato," for a taste of Mosell's style. The more Chopin-esque pieces in the middle of the program then take on the character of an interlude before the more extreme sound world of Stockhausen.
This is the kind of release that makes you want to hear more from the
performer involved, even if it does not succeed in every respect. (James Manheim)
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