Despite being a staple of classics at the movies compilations, I've never been a great fan of Michael Nyman's score to The Piano, finding it rather dull and repetitive. However, due to its more widespread success, Nyman decided to turn the solo piano compositions into a longer concerto. While turning film music into concert music is nothing new - many of the golden age composers did it on a semi-regular basis - it's certainly not something that happens much these days. The original score is primarily brief solo piano vignettes and so a lot of work has gone into making the music more substantial. Perhaps the most surprising thing is how different the tone is to the film score; the concerto has a more upbeat pulse, coupled with a striking urgency throughout its entire length. Even the slightly slower sections, notably the third movement, keep ticking along. Of course, constant movement is something of a side effect of minimalist music; if a pattern is set in motion then changes either need to be instant or very gradual, Nyman opts for the latter approach.

I could be wrong, but the piano part for the concerto doesn't strike me as especially taxing and soloist Peter Lawson has no difficulty in producing a fine performance, but there is little in the way of flourishes either artistically or technically. On the Fiddle is a suite of three tracks from his scores to Peter Greenaway's films, opening with the sombre and delicate Full Fathom Five from Prospero's Books, which seems strange given that tracks from that score round out the album. Angelfish Decay, from A Zed and Two Noughts is one of Nyman's more hilariously insane compositions, although the arrangement here has it played alternately very slowly and then at its usual manic intensity. It makes for an interesting contrast for at the lower speed, it becomes quite delicate and surprisingly lovely. The Miserere Paraphrase from The Cook, the Thief, His Wife and Her Lover is a much more sober entry, beautifully elegant and one of Nyman's most affecting compositions.

The album concludes with the aforementioned twenty minute suite from Prospero's Books, based on the character from Shakespeare's The Tempest. Prospero's Magic is about as close to Nyman has come to writing a march - albeit a string led one, but it has a stirring stridency that is quite potent. Unsurprisingly, Prospero's Curse is more disturbing, with an rather anarchic feel as different sections of the orchestra play at different tempos, seemingly competing with one another. Cornfield is altogether more gentle, while Miranda is again strident, but closes with one of Nyman's most memorable motifs which the entire track hints at, but only reveals in the closing moments leaving the listener wanting more. The performance by the Royal Philharmonic Orchestra is idiomatic, if a little cleaner and less urgent than the more edgy playing of the Michael Nyman band. At its budget price, an ideal introduction to Nyman's music and a worthy performance of the Piano Concerto for those wanting to explore his concert repertoire.

Rating ~

The Piano Concerto
1. Part 1 (11:51)
2. Part 2 (6:51)
3. Part 3 (8:59)
4. Part 4 (5:06)
   On the Fiddle
5. Full Fathom Five (5:06)
6. Angelfish Decay (3:05)
7. Miserere Paraphrase (7:05)
   Prospero's Books
8. Prospero's Magic (6:10)
9. Prospero's Curse (2:44)
10. Cornfield (6:58)
11. Miranda (4:06)

Total Time ~ 68:14