Ludovico Einaudi
Elements
(Decca)
Four stars
Ludovico Einaudi’s popularity has bred contempt. He was sneered at by sections of the classical music community. His works seemingly had more in common with muzak than Mozart, and were intended for coffee tables rather than concert halls.
What the critics failed to appreciate was the Milanese maestro's revolutionary spirit; a family trait, given that several idealistic ancestors helped to relaunch post-war Italy. Having proved that piano instrumentals could sell millions he cast off the classical shackles, formed a supergroup, Whitetree, with German electronic experimentalists To Rococo Rot (their co-founder Robert Lippok reappears here), and then made an album inspired by the German sculptor Anselm Kiefer, Nightbook. Now, for his 12th studio album, Einaudi has again looked beyond music.
Elements, as the title suggests, is shaped by the rural environs of the composer's Italian retreat, but also namechecks some unlikely figures, from the Greek mathematician Euclid to the abstract Russian artist Kandinsky.
Such varied stimuli merged in a “seemingly chaotic mix of images, thoughts and feelings” admits the creator, but thankfully this is no self-indulgent art project. The result is a glorious marriage of melody, ideas, and unforeseen grandeur, aided by a sizeable supporting cast, including the Amsterdam Sinfonietta.
Many of the 12 compositions are built upon delayed gratification. The title track is the most eye-popping departure, and could really be filed under "rock", as a brooding bass guitar and organ set up those rousing strings. Drop – remixed elsewhere by the progressive rockers Mogwai – is a fascinating blend of piano, electronic gurgles and edgy percussion, while Numbers, with its xylophonic intro and quasi-jungle noises, could be a children's track – depending on the child.
Einaudi eases his loyal listeners in with Petricor ("the smell of rain"), a traditional but magical piano-based opener, and the nature-fuelled collection is awash with beauty and drama. Mountain – excuse the pun – is a high point, but also surprisingly low-key, more valley than summit, while Whirling Wind could be a film noir score before hitting its hectic orchestral peak.
As for those historical influences, Logos – Ancient Greek for 'reason' – conjures cold, abstract images, before building to another fabulous finale. This is an album made for both headphones and huge concert halls. Having long been dismissed as a purveyor of background sound, Einaudi now pushes his sonic visions to the fore. Elements is anything but incidental music.
artslife@thenational.ae
