I would suggest that the majority of pieces would suit pianists of around (UK) Grade 5 and upwards as there are some deceptively tricky moments. They cross many genres and styles of music, yet exist as a carefully-crafted collection in their own right. This is an evocative and beautifully-presented selection of pieces which would appeal to all age groups. Dreaming had a beguiling melody which perfectly suited the shifting quaver accompaniment. Again, Quiet Streets was calming in its rhythmic flow, although the stretches in the left hand (for which there is little alternative) will prove problematic for many players. I thought this piece shared much in common with Peter Maxwell Davies’ Farewell to Stromness. I particularly liked the way in which Before Dawn uses what we often term to be a ‘Scotch snap’ rhythmic figure in the right hand, evocative of the birds rising from their slumber as first light appears. Similarly, City Lights with its rippling left hand quaver pattern is insistent yet confident in its outlook.
This piece in particular reminded me of Max Richter’s music. Sleepless, from its initial sparse opening builds to a pulsating middle section reminiscent of those bouts of insomnia where our mind race in all directions. In the main, I enjoyed playing all the pieces in the collection, though some jumped out as being particularly satisfying to play.
The carefully chosen titles give a hint as to the character of each piece. I hope therefore, that the intention is that these are pieces to make your own. Directions suggest the pedal is to be used throughout most of the works, along with, at times, the una corda pedal. There are relatively few dynamic markings and tempo changes, and so far as I can see, no articulation. In some ways, the musical directions themselves are sparse. They all, as was the intention, have an improvisatory quality to them, though they are not directionless. Most of the pieces are just 2-3 pages in length and whilst all are inspired by the twilight hours, each piece exists, exquisitely crafted, in its own right. Whilst I hesitate to compare one composer to another, if you like the compositions of those such as Alexis Ffrench, Ludovico Einaudi and Philip Glass, perhaps with some Max Richter and Peter Maxwell Davies thrown in, these are for you. And it was so fun, I love working that way just being completely open and directionless and not let my thoughts get in the way, until I eventually can edit, rework and shape them into coherent pieces.’
‘all the pieces on this album were created in the evening I did several recording sessions at studios all over the city – free improvisations, some of which would later turn into these tracks. The album itself had an interesting beginning, as Gjeilo goes on to write: My goodness, aren’t we all in need of some inspiration, reassurance and calm at the moment? There’s something inspiring and even reassuring and calming about that to me.’
I love the mood of night, and feeling all of New York City light up from endless skyscrapers. Now, a few months on from the album’s release, Chester Music have published the accompanying sheet music for all 18 of the solo piano pieces on the album. Along with two albums of his choral music, Night was also released on the Decca Label. Ola Gjeilo took up the piano at the age of five, and went on to study at the Norwegian Academy of Music, Julliard School and Royal College of Music. Now living in the US, the album contains 18 pieces inspired by the twilight hours in the city of New York where he now lives. Primarily known as a composer of choral music, Noway-born Ola Gjeilo released his third album of solo piano pieces, Night, in 2020.