At this stage in his career you would forgive even Sufjan Stevens for struggling to keep up with his own output. A masterful songwriter, composer, performer and collaborator, his collected body of work is now close to requiring a dedicated cataloguing system.
While it is his music as a singer-songwriter that most know and love him for, his list of other artistic endeavours speaks to his pioneering spirit. Stevens’ latest release ‘Reflections,’ is another in a long list of collaborations with choreographer Justin Peck and is a testament to the nuanced ear he brings to proceedings when writing for ballet.
The score was composed for two pianos and first performed in 2019 by the Houston Ballet. Expertly captured for the recorded version by Timo Andres and Conor Hanick, the seven tracks are invigorating and lively, displaying a joyful parry and riposte between the two incredibly talented performers.
The technical ability on display becomes all the more astounding when you add into the mix the fact that Stevens is self-taught on piano, writing by gut as opposed to following pre-ordained structures.
There is real power in ‘Reflections’ that lies in its ability to make us question our perception of ourselves. The dual pianos are rarely mirror images of each other. Instead they are altered projections, filled with wistful optimism.
Stevens' restless spirit is evident in the tracks. The first four numbers barely pause for breath as frenzied flurries of notes cascade in an attempt to keep the dance alive. Meanwhile, the stunning climax of And I Shall Come To You Like A Stormtrooper In Drag Serving Imperial Realness is an intoxicating introduction to another space and time.
There will always be those who solely choose to listen to Stevens’ solo output, or when he is collaborating with The National on one of the finest tracks from their new LP. But for those who want to dig deeper into his work and explore his array of talents the rewards are endless.
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