Classical Music: Jeneba Kanneh-Mason Fantasie

Jeneba Kanneh-Mason Fantasie

Chopin: Piano Sonata No.2 in B-Flat Minor, Op. 35; Nocturne No. 7 in C-Sharp Minor, Op. 27, No. 1 Nocturne No. 8 in D-Flat Major, Op. 27, No. 2 Price: Fantasie Nègre No. 1 in E Minor; Bonds: Troubled Water; Still: Three Visions: II. Summerland; Debussy: La fille aux cheveux de lin ; Bruyères; Scriabin: 24 Preludes, Op. 11: No. 1 in C Major; 24 Preludes, Op. 11: No. 11 in B Major - Allegro assai; Piano Sonata No. 2 in G-Sharp Minor, Op. 19 "Sonata Fantasy"

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In the constellation of classical debuts that illuminate each season, few recordings announce the arrival of a significant new talent with the quiet confidence of Jeneba Kanneh-Mason's first solo album. The 22-year-old pianist has crafted a program of remarkable sophistication that takes listeners on a journey across musical landscapes, revealing connections between composers who "met, influenced each other, or simply existed in resonance."

"I've always loved coming up with quite complex programmes that flow really nicely from one piece to the other," Kanneh-Mason explains. "By gathering them here for my debut album, I am not only revealing more of myself as a musician but also sharing the very different styles of music I grew up listening to."

This thoughtful curation demonstrates a maturity and eloquence well beyond her years. Her performance of Chopin's Piano Sonata No. 2 in B-flat Minor is truly remarkable. She tackles the formidable technical challenges with seemingly effortless virtuosity, while the famous Marche funèbre receives beautifully nuanced phrasing and expressive sensitivity. In the companion Nocturnes (No. 7 in C-sharp Minor and No. 8 in D-flat Major), she draws out a luminous melodic radiance through sublime, graceful articulation.

Kanneh-Mason's affinity for Florence Price's music shines through in her passionate rendering of Fantasie Nègre No. 1, dating back to her 2021 BBC Proms debut with Price's Piano Concerto. This 1929 work, originally dedicated to Margaret Bonds, receives a performance of profound emotional presence. She follows this with Bonds' own Troubled Water, bringing infectious rhythmic energy to its jazz-infused syncopations based on the spiritual Wade in the Water.

Perhaps most impressive is Kanneh-Mason's intelligent programming. The placement of William Grant Still's idyllic Summerland immediately before Debussy reveals fascinating parallels between the composers, her delicate touch highlighting the romantic, tranquil qualities that unite them. She concludes with Scriabin's Sonata Fantasy, displaying exceptional fingerwork and profound understanding of the composer's daring harmonics.

Throughout this remarkable debut, Kanneh-Mason demonstrates not only prodigious technical skill but also a rare ability to make her instrument sing with richness and sensitivity. Her deep emotional connection to this diverse repertoire proves utterly infectious, marking her as an artist of exceptional promise. The outcome is not merely an impressive debut—it's the arrival of a significant new voice in classical piano.