From Somewhere

As a composer and as a pianist, my instrument has possessed an enduring connection to almost every composition I’ve created. From early Bach impressions, through the stride/boogie piano stylings of Meade Lux Lewis, the beauty and intimacy of Bill Evans, and the precise and deeply evolving creations of Glenn Gould, the piano remains my home. Regardless of the broad discography of my other chamber and orchestral creations, a seat at the piano has always been the starting point where it all begins. Incessant “noodlings,” born of years as a jazz pianist and improviser, has, with the piano before me, pushed forward ideas, harmonic, rhythmic, structural, and even the overall musical character and story that I wanted to tell.

FROM SOMEWHERE emerges from an answer I gave to a music critic during an interview when he asked me “where does all this music of yours come from?”

I responded, “from somewhere.”

The album is a deeply layered work, from piano sonatas, to fugues and preludes, and individual stand alone solo works. As a composer, I find myself to be a heart creator, not a head one. I believe that music needs to tell a story, and to achieve that end, musical form, without substance, has no place in my vocabulary. Precision of feeling is the path I follow. Making the personal universal is my mantra. Compositional anonymity can never be universal, for “we understand the universal through the personal.” (Painter, Robert Motherwell).

Ongoing social events were the contributing inspirational content of both Sonatas 10 and 11. In the case of Sonata #10, the war in Aleppo, its different degrees of destruction, and impact on the civilian population provided the backdrop for its compositional story. Particularly in the second movement and the end of the third movement is this mood and character most evident. Sonata #11 is a COVID-19 related work, for its impact on the entire world population created moods of panic, fear, sadness, and loss. The final chorale and fugue mixes this sense of chaos and loss with a sense of hope and renewal.

The “Twelve Preludes and Fugues” were arbitrary as to their number… (it ended up being that way), and whether they were to be major or minor in conception. Furthermore, I chose to assiduously avoid giving titles to each piece. That should be within the domain of the listener. In fact the only connecting fiber of the work is the pitch/intervallic shaping, namely: up a minor third, back a major second for each set.

That Day is dedicated to the memory of the late George Floyd. Written the night of his passing, it was the only way I could find some inner peace in the face of this unspeakable tragedy.

Prelude 17 is a work from 1991 and has always remained a favorite of mine. Its tempo, flow, continuity, and energy within such a short time frame was exactly what I had hoped to achieve. “Boogie,” the first movement of Piano Sonata #8 provided a unique way of beginning the piece. In addition, having played and listened to Boogie Piano over many years, it would have been impossible to not, at some point, inculcate that feel into a more classically oriented composition.

Soliloquy is a love song for my wife, Jeannine. Playing it for her early on in our relationship solidified for her the fact that I was more than just a composer with great blue eyes!

Finally, I do hope you enjoy the stories, mood and feelings in FROM SOMEWHERE.

One need not understand the construction of a musical work to fully enjoy its content. So enjoy and may the ride be a meaningful one.
Words cannot express my deepest thanks to pianist Clipper Erickson and producer Małgorzata Albińska-Frank. Their gifts, talents, and deep insights are in constant display throughout the album, and for that I am eternally grateful.

— Laurie Altman, Spiez Switzerland, winter, 2024