Review Summary: A Steinway piano is nothing without a master above the keys.
George Winston returned in 1982 to release two albums,
Winter into Spring, and
December. This particular album is known as one of the pincushions of the New Age genre. Everything within its leaps and bounds is quite remarkable, either through pure musicality, or the immense emotional basis that Winston’s arrangements thrive on. Essentially it’s an album that encompasses the time during December – snow, Christmas and happiness – though curiously begins with the composition
“Thanksgiving” which is known to many as a late November celebration in the United States.
It is perhaps easier to begin with the collection’s finer moments,
“Night, Part One: Snow” and
“Carol of the Bells”. Strangely the opening melodic sequence from Snow is instantly recognisable, even if one hasn’t necessarily heard it before, using none other than two-note themes to form a dark cascade of rhythmic quality, which hovers below a myriad of snow-like melodies. Carol of the Bells on the other hand is a genuine Christmas carol arranged by Ukranian composer
Mykola Leontovych after the traditional Ukranian folk song
“Schedryk”. Winston’s particular arrangement of this piece is stunning for its use of wonderful dynamic range between deafening silence, to piercing high registering notes. However, more wonderful is the moment when one sees through the simplistic tune playing in ostinato and realises the complexity of syncopated rhythms forming an elaborate backdrop of notes that amazing never topples over the main theme.
Together these two works are ultimately the most enjoyable moments of December, but they are held up by the context of the rest of the pieces. On here a set of
“Variations on the Kanon by Johann Pachelbel” are to be found, which do offer a sense of place to the recording, by ultimately detract from its theme. They would have served better on one of his less themed albums, however are enjoyable in their own right. Also are the two other parts representing the melancholy of the night. Two is simple and dark while three offers a sense of resolution in a mystical way.
Furthermore, Winston’s usage of contrast is evident everywhere, particularly during
“The Holly and the Ivy”. Sometimes his pianissimo is so quiet (possibly thanks to production techniques) that silence itself almost becomes an emotional entity. Other times his sudden off-beat accentuations reminiscent of his jazz influences are refreshing reminders that dynamic music is being played, rather than just monotony. For an album that possibly forged the way for all New Age to follow and evolve, December is an unparalleled beauty in modern piano repertoire that if given the chance is a thoroughly enjoyable example of natural representation through music.
