Cheryl Duvall, piano
Redshift Records, 2020
Harbour, a recital recording of Anna Höstman’s piano works played by Cheryl Duvall, reveals an emerging composer who both synthesizes her research interests – she has written about Feldman and Linda Caitlin Smith – while developing a significant voice of her own. Thus, gradually developing fields of sound remind listeners of the aforementioned composers, but Höstman’s gestural palette is significantly different. Examples of this include the ornaments on “Allemande” and the blurring gestures of “Yellow Bird.”
The title piece is a twenty-five minute long essay that begins with flourishes that remind one of Messiaen’s birdsong, as well as gliss-filled descending lines, set against a slow moving series of polychords. Registral expansion affords these three elements considerable latitude and points of intersection. The verticals take on a reiterated ostinato that alternates with linear duos and the glissandos, allowing for the music to gradually grow more emphatic in demeanor. There is a long-term crescendo that allows for these elements to take on a certain bravura that transforms them, at least for the moment, into emphatic post-Romantic material. However, the sound soon scales back and Harbour returns to a quietly mysterious space.
Pianist Cheryl Duvall is an excellent advocate throughout, bringing a graceful touch and finely detailed shadings of dynamics and voicing to the music. Composer and pianist seem to be an ideal pairing on this consistently engaging release.