Recordings

Piano Music Vol 7

Piano Music Vol 7

Listen to Music Clip: Peter Pan Suite - 'Tinkerbell'

Stephen Sutton, DIvine Art Director says of it; “This is the final disc in this acclaimed series of the unique piano music of Erik Chisholm, dubbed 'The Scottish Bartok' for his amazingly individual use of traditional melodies form his homeland, particularly the pibroch or piobaireachd, ancient bagpipe airs. An essential exploration for lovers of modern piano music, the first four volumes were called 'one of the musical discoveries and revelations of the 21st century' (Music Web).

The scherzo has infectious humour and I actually laughed out loud. A man that can write music that makes you laugh must be clever’. David Wright CD Review 42 Music for Piano Vol 7 can be downloaded here.

The most important pieces on this CD must be the five elegies with which the CD opens. It is hardly possible to listen to the works on this CD and the other six and wonder how such an important contributor to the literature of the piano has gone virtually unnoticed by lovers of piano music. John France Music web. Read the full review here.

The four elegies are by turns clangourous and often coloured by the twists and turns of Scottish folk voices. Rob Barnett Music Web. Read the full review here.

The Peter Pan suite dates from 1924 when the composer was twenty; its five movements are affectionate, witty and colourful character studies of Peter, Wendy, the crocodile, Tinker Bell and Captain Hook. Michael Graubart

Fanfare

Impressionism seems to inform "Peter," the first movement of the Peter Pan Suite of 1924; "Wendy" (second movement) continues this current, although it develops further into contrapuntal-ist territory (beautifully explored by McLachlan). Predictably (but no less magically), it is the "Tinkerbell" fairy of the fourth movement that evokes the ephemeral nature of this Spirit; the central lullaby ("She Sighs for Peter") is beautiful. Captain Hook provides the necessary brawn for the finale. This is by far the most technically challenging movement, and McLachlan copes with its demands with real aplomb.

He ends, Finally, the single movement of the Third Suite (“Ballet”) is a playful teasing dance that seems just right to conclude this major series of recordings Bravo to all involved over at that enterprising record company, Divine Art, and to McLachlan for his clear devotion to this music. Colin Clarke