Avant-garde classical composer-pianist comes back home to romantic melodies, assymetrical rhythms and his first love - the piano.

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Contents

#		Title	Length	Sample
1		Mirage 1: Voyage	4:27
2		Mirage 2: River	4:10
3		Mirage 3: Old Story	3:48
4		Mirage 4: Night Rider	6:43
5		Mirage 5: Aria	3:28
6		Mirage 6: Mirage	3:55
7		Mirage 7: Island	4:17
8		Solo Piano 1: Insieme (Together)	8:04
9		Solo Piano 2: Arabesque 2	7:34
10		Solo Piano 3: Fantasy	9:30
11		Solo Piano 4: Solo	6:52

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Description

Richard Trythall is a composer-pianist who is equally at home in the standard classical piano repertoire and the twentieth century avant-garde repertoire. In addition to his compositions for piano, he has composed numerous chamber and orchestral works and was a pioneer in developments of "musique concrte" during the 1970's. His piano compositions reflect all of his varied musical experiences combining his interest in new forms and expression with his love for the Romantic character piece and the Impressionistic tone-poem to create a music which is melodic and emotional, yet shaped in a contemporary and original manner.

He writes the following about "Out of Bounds":
The CD, "Out of Bounds", is a substantial "re-mix" of two solo piano albums (LP's) created during the '80's. The original sound recording of the suite of four pieces entitled "Solo Piano" was recorded in Rome, Italy, in 1984 and later issued by Aspen Records (USA) in 1986. The original sound recording for "Mirage", a suite of 7 compositions, was recorded in Rome in 1989 (at BMG Studios), but was never released. The present sound recording of these compositions was created in the summer of 2001. While some of the compositions were only retouched, most were revised extensively.
The title, "Out of Bounds", refers to a number of ways in which this music, particularly in the '80's, fell outside pre-defined categories. As a general area of sentiment, I suppose, this music (particularly the Solo Piano album) suggested the "New Age" tendency of the time - simpler harmonies, melodies, reflective moods, inner listening, etc. On the other hand, it was music which developed dramatically, moved through a variety of emotions and frequently had a complex architecture - characteristics of the Classical romantic piano literature. It broke through boundaries in several other ways as well. This music occasionally used new harmonic and pedaling effects derived from my experiences with electronic music and, as my style developed, the left and right hands became increasingly independent, both contrapuntally and metrically, meaning that, often, the harmonies of the work were in constant flux. There was also a stylistic reference to "minimalism" though, in reality, this influence came more from the Baroque's "perpetual motion" style than it did from the minimalism of the 1970's and 80's. Put all together, these characteristics meant that the resultant music was not an easy music to classify - in short, it fell just a bit "out of bounds", as risky shots often do...

Reviews of "Solo Piano" from the epoch:

"Contemporary Keyboard", April 1985: Four exquisite piano solos, performed by the composer. Primarily a consonant harmonic language, but far more sophisticated in line and nuance than the typical folk piano recording. "Arabesque 2", for example, uses fast, quasi Oriental treble lines over a simple but constatnly shifting rhythmic figure. (Jim Aikin)

"Pianotime", June 1985: ... a journey in search of emotion, of sound as seduction...Trythall's compositions are conceived as if they were improvisations, in which the repetition and expansion of basic melodic cells gives the composition the character of a conversation - a soliloquy intended to reach others.

"Suono", April 1987: .. original and personal music..His is a vision in which the piano regains its expressive integrity, its cantabile nature, its warmth, its melodic values, without remaining mired in romanticism...works full of fascination and of subtle invention.

Reviews of "Mirage" from the epoch:

"L'Unit", Rome, November 21, 1987: ...a complex group of deeply musical emotions ...a profound, spacious and extremely gentle "Rverie".

"Pianotime", January 1988: ..a seductive improvisation with a rarefied harmonic atmosphere ...an astonishing soliloquy, very personal, of real charm.