Greta

The new piano sonata is in five movements and the entire work has been recorded twice – once using piano and once on electronic keyboards. I prefer the piano version but it’s quite fascinating to explore the differences between the two. The music is uncompromising, but Harvey’s piano playing is absolutely extraordinary in its virtuosity.

Harvey is also consistently vocal on environmental issues; his 2017 collaboration with violinist Emily Sheppard was a tribute to Bob Brown, who Harvey described as “a lifelong courageous warrior”. Harvey’s latest recording pays homage to another fearless environmental warrior, Swedish teenage activist Greta Thunberg. ... third movement ‘E’ is a highlight, with textural trills and ominous low register quakes translating particularly well to its corresponding electric harpsichord setting and eliciting sparkling resonances.

Michael Kieran Harvey uses all his attributes of heart, mind and hands in the composition and execution of this astonishing piece of music. Harvey has replicated each of the movements on an electronic instrument, because he feels there is an association of piano with the upper class and conservatism. To be honest, with Harvey’s music, that association would require an extreme leap of faith. However, the opportunity for interpretation on different instruments from the original, changes everything that one hears. Harvey draws upon differing timbres of the electronic instruments he uses, even, as with the last movement, using multiple contrasting tone colours. Equally, the differentiation of stereo sound, with distinctive bass in one channel and treble in the other, draws one’s attention to different facets in such a way that the individual layers, counter-rhythms and melodic lines prominent in the original, are entirely altered with their electronic interpretation. The second movement is particularly transformed in meaning with the use of a Fender Rhodes, a forgiving sound that cushions the prevailing mood of this movement. The harpsichord interpretation of the ‘E’ movement is also fascinating, separating so distinctively, as with the first movement, bass sounds from treble.

(Michael Kieran Harvey) writes virtuosic music that he then despatches with aplomb. Much of this music from Harvey is highly energetic and sometimes borders on being manic but maybe considering the topic of climate change and its massive problems it is most appropriate. In many ways it is like an extended improvisation. The work appears in two versions so we hear 31 minutes performed on a concert grand piano and then again on various electric keyboards. Different listeners might prefer one over the other whilst I simply enjoyed the variety that the diverse instruments offered.