Bonis: Complete Music for Solo Piano, Vol. 1 / Mengyiyi Chen
ï»żMĂ©lanie Bonis (1858â1937), a fine pianist herself, composed some 150 works for solo piano, publishing them with her first name shortened to âMelâ to disguise the fact that she was a woman â while she lived among the French haute bourgeoisie as Mme Domange. They sometimes show the influence of Chabrier, and have points of contact with the music of Chausson, Debussy and PiernĂ©, who had been fellow students at the Paris Conservatoire. But they also reveal an individual approach to rhythm, harmony and tone-color â and itâs clear that her conventional exterior hid a lively sense of fun, her many miniatures for children perhaps influenced by her own experience as a mother.
REVIEW:
The music on this CD is well crafted and engaging. Bonis was undoubtedly a talented composer, and these works for piano stand comparison with those of Chabrier and Chaminade, to name two. The ornate Barcarolle, for example, is, with its chromatic cascades and passionate heaving and swelling, more than just a placid little row across the pond. Even a small piece, such as the Berceuse triste from the Cinq petites piĂšces, reaches an emotional depth. The ScĂšnes enfantines, on the other hand, are more modest.
Pianist Mengyiyi Chen, now in her young 30s and educated at the Manhattan School of Music (and elsewhere), makes a good case for this music. Compared to Marie-Catherine Girod, who also played âOphĂ©lieâ on the aforementioned Schloss vor Husum CD, she is at least as good, and rather more dramatic. The piano is a Steinway D, and it has been recorded well.
â Fanfare
ï»żMĂ©lanie Bonis (1858â1937), a fine pianist herself, composed some 150 works for solo piano, publishing them with her first name shortened to âMelâ to disguise the fact that she was a woman â while she lived among the French haute bourgeoisie as Mme Domange. They sometimes show the influence of Chabrier, and have points of contact with the music of Chausson, Debussy and PiernĂ©, who had been fellow students at the Paris Conservatoire. But they also reveal an individual approach to rhythm, harmony and tone-color â and itâs clear that her conventional exterior hid a lively sense of fun, her many miniatures for children perhaps influenced by her own experience as a mother.
REVIEW:
The music on this CD is well crafted and engaging. Bonis was undoubtedly a talented composer, and these works for piano stand comparison with those of Chabrier and Chaminade, to name two. The ornate Barcarolle, for example, is, with its chromatic cascades and passionate heaving and swelling, more than just a placid little row across the pond. Even a small piece, such as the Berceuse triste from the Cinq petites piĂšces, reaches an emotional depth. The ScĂšnes enfantines, on the other hand, are more modest.
Pianist Mengyiyi Chen, now in her young 30s and educated at the Manhattan School of Music (and elsewhere), makes a good case for this music. Compared to Marie-Catherine Girod, who also played âOphĂ©lieâ on the aforementioned Schloss vor Husum CD, she is at least as good, and rather more dramatic. The piano is a Steinway D, and it has been recorded well.
â Fanfare
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ï»żMĂ©lanie Bonis (1858â1937), a fine pianist herself, composed some 150 works for solo piano, publishing them with her first name shortened to âMelâ to disguise the fact that she was a woman â while she lived among the French haute bourgeoisie as Mme Domange. They sometimes show the influence of Chabrier, and have points of contact with the music of Chausson, Debussy and PiernĂ©, who had been fellow students at the Paris Conservatoire. But they also reveal an individual approach to rhythm, harmony and tone-color â and itâs clear that her conventional exterior hid a lively sense of fun, her many miniatures for children perhaps influenced by her own experience as a mother.
REVIEW:
The music on this CD is well crafted and engaging. Bonis was undoubtedly a talented composer, and these works for piano stand comparison with those of Chabrier and Chaminade, to name two. The ornate Barcarolle, for example, is, with its chromatic cascades and passionate heaving and swelling, more than just a placid little row across the pond. Even a small piece, such as the Berceuse triste from the Cinq petites piĂšces, reaches an emotional depth. The ScĂšnes enfantines, on the other hand, are more modest.
Pianist Mengyiyi Chen, now in her young 30s and educated at the Manhattan School of Music (and elsewhere), makes a good case for this music. Compared to Marie-Catherine Girod, who also played âOphĂ©lieâ on the aforementioned Schloss vor Husum CD, she is at least as good, and rather more dramatic. The piano is a Steinway D, and it has been recorded well.
â Fanfare
