Sigma Alpha Iota

REVIEWs American Ivory Impresses With Range of Piano Solos W By Elora Walsh ith its serene album cover and Richard Fountain's alluring piano abilities, American Ivory is sure to please its listeners. Fountain, an Assistant Professor of Collaborative Piano at Texas's Wayland Baptist University, took his project to kickstarter.com in May 2012 where he raised over $8,000 to bring American Ivory to reality. "When you look at rural mid-western America, you may understand why scenes like this have inspired great composers to write great music. I would like to bring some of that music to you on a new solo piano CD including new music by Gary Belshaw, as well as some old favorites by [Samuel] Barber, [Aaron] Copland and [Edward] MacDowell," said Fountain to viewers on kickstarter.com. After Kickstarter successfully funded his project, American Ivory was recorded between June 11 and June 13, 2012. The album opens with MacDowell's "First Modern Suite, Op. 10." The six tracks, composed in 1883, display Fountain's versatile ability to bounce back and forth between tempos with such finesse. The first piece of the six part suite, "Praeludium," demands the listener's attention with heavy chord strikes and light trills that float throughout the piece carrying it to a brighter ending. Track four, "Intermezzo," does that of its namesake and breaks the dramatic tone of the suite with a 2 minute bouncy piece which brings the audience to an uplifting peak. Fountain brings life to the piece through his cheerful flow across the piano keys. Last in the suite is the almost 4 minute fugue in which Fountain handles with such intensity and grace, ending the suite on a bold high note leaving listeners energized. American Ivory switches pace with one of three sections composed by Belshaw, a colleague of Fountain's at Wayland Baptist University. Track seven, "Camp Springs," features a sunny tone bringing beautiful light to the album with elegant playing by Fountain. Next on the album is "Guide To Holiday Shopping." The quickened notes remind listeners of a busy season. Fountain leads listeners on a holiday adventure with the piano that engages quite well. Breaking the compositions of Belshaw are pieces by Copland and Barber. Copland's piece, "Passacaglia," begins with low and bold notes that lead to a raising scale of sorts. The scale tapers off to a calmer descending pattern leading be hanged; so lock it up or burn it ..." (Page 67) Hiller may have locked it up for a time, but finally he did publish this correspondence and others. These primary source documents have remained intact and become a treasure trove for the public. And fortunately, there was never any roasting or hanging. Apparently, Mendelssohn was never sloppy. In everything, even his timeconsuming correspondence, he attended to the smallest details and tried to do whatever he was doing as perfectly as possible. To Clara Schumann, wife of Robert and a gifted pianist and composer herself, Mendelssohn was chivalrous. Once at a gathering of friends, he began performing Beethoven's Appassionata Sonata, pausing after the final diminished seventh chord in the Andante. Then he asked Clara Schumann to play the Finale. After initially protesting, she agreed. Hiller was at the joint performance and recorded: "The end was worthy of the beginning, and if the order had been reversed it would no doubt have been just as fine." (Page 214) Above all, the letters in the collection reveal a true and deep friendship between Mendelssohn and Hiller. As I read them, I noted their closings and chose my favorite: "Remember me to your people, and keep well and happy, in major, and 6-4 chords of all sorts." (Page 67) With sadness, but without giving specific details, Hiller describes the end of his correspondence with Mendelssohn: "I think we were both in the wrong, but no angry words passed between us." (Page 216) After the death of to a dramatic pick up in tempo. The track ends with Fountain striking intense piano chords acting as a dynamic transition into Belshaw's composition of "Passacaglia." Also by Copland featured on the album are "Saturday Night Waltz" and "Hoe-Down." "Nocturne, Op. 33," composed by Barber, starts as a dreamy piece with a pick up half way through the song before bringing listeners back to a calm sense. It ends with a single note that is the perfect finishing touch. Concluding American Ivory is a meditation on "Savior More Than Life to Me." This piece in combination of Fountain's hearty playing is the "red, white, and blue cherry on top" ending with an American feel. Fountain's album American Ivory is a must have for any music lover. Fountain's talent in collaboration with the great composers featured on the album created an engaging and enjoyable that will keep its audience returning for more. Sword of Honor recipient Elora Walsh is a graduate of Clarion University of Pennsylvania. At Clarion, Elora was the editor-inchief of The Clarion Call, Programming Director of WCUC-FM, President of the Society for Collegiate Journalists, and President of the Kappa Eta Chapter of SAI. CLICK FOR MORE To learn more about American Ivory, visit garydbelshawmusic.com her husband, Cécile confirmed that his feelings toward Hiller had remained unchanged. It was spellbinding to be a part of this intimate friendship by reading Mendelssohn's letters as well as Hiller's firsthand accounts. Now, more than ever, I am convinced of the inestimable value of letters and journals, especially from and about a great composer. Jayne I. Hanlin is an initiate of Alpha Omicron and current member of the St. Louis Alumnae chapter. Mrs. Hanlin, the sister of famed pianist Malcolm Frager, is the co-author of Learning Latin Through Mythology (Cambridge University Press, 1991). sai-national.org WINTER 2013 PAN PIPES 11 winter 13 PP.indd 11 2/12/2013 2:15:07 PM

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