“Reflections” is the latest release by composer/pianist James Adler whose composition skills are only matched by his piano virtuosity. This album features his most recent work to among the earliest pieces he learned to play. And when you are an artist of Adler’s calibre, other composers write things with you in mind.
The album begins with Adler’s composition honoring The Curtis Institute of Music, his alma mater, with a work commissioned by the Centenary Commissioning initiative of 100x100. 100 works by 100 composers in celebration of Curtis’ 100th anniversary led to “A Curtis Reflection” that encapsulates Adler’s time there and a bit of the history of that venerable arena. Three Movements combine, each containing genius musical easter eggs that composers create. “222” is the first movement, and happens to be the address of his apartment on Rittenhouse Square. Written in F Major and G Major, the first indicating a calmness of sorts, the second, gratitude and peace. Those of us who remember our first time on our own find a certain poignance and grace. “Parkway House” is next and Adler relates how he fell in love, moved in and then had his heart broken. Again, thrumming resonance in D flat Major with accents of the low A flat. The final movement, “1726”, is the physical address of the Curtis Institute of Music. The notes of the diatonic C scale, the notes C-B-D-A, with the B being natural, creates a theme that is a montage in sound that reprises several motifs from “222”, including one for his sister Sherry who had passed during his time at Curtis. Mr. Adler’s brilliant program notes from his recital in November 2023 provide the musical reasons why everything sounds and feels as it does.
Henco Espag, a composer who is also a friend and colleague, created “Mistieke Feetjies” (“Mystical Fairies) expressly for Mr. Adler whose hands fly over the keyboard as surely as the fairies fly over meadows creating their magic. Joy made music.
Paul Turok was also a dear friend of Mr. Adler’s and the “Little Suite for Piano” featured next starts darkly then progresses in a modern chromatic way that has me imagining what Mr. Adler’s hands look like both playing as well as reflected in the black mirror finish of a fine piano. “Little Suite…” is big sound and thoroughly satisfying.
Claude Debussy’s “Deux Arabesques” are perfect for sultry summer listening. Evoking pleasure, relaxation and a wee bit of romance, Mr. Adler’s execution of this impressionist composition is so delicately nuanced, that it has become my favorite performance of the piece. Mr. Adler’s elder brother Norm regularly told of working on that piece, when 6 year old Jimmy came in to try it. It was so well done at Jimmy’s tender age, that the elder Adler determined to go into science. You’ll find the full accounting in the wonderfully personal liner notes.
The final offering is the deceptively simple Kinderszenen by Robert Schuman. While portions of it are studied by nearly every beginning student, there are nuances that true artists extract. First performing this piece in his very first recital at the tender age of 13, Mr. Adler’s deft touch and command of dynamics and phrasing make this a new experience overlaying remembrance. In the same way a deep patina is realized by repeatedly bringing out the grain in a masterwork, the entire album is truly a reflection.