File Under = Piano based neo-classical
Hauschka, now on his fourth full length release, has become quite the reliable outlet for beautifully inventive piano based neo-classical music. Ferndorf is simply another example of an incredible ear for melody and an adept arrangement skills. Hauschka’s steadily stunning output may not be as loudly proclaimed as similar artists like Rachel’s or Max Richter, but that certainly doesn’t mean that his music is any less amazing. In fact, quite to the contrary, if anything Hauschka is exceeding those afore mentioned indie-approved neo-classicalists by producing even more immediate, arresting and talented compositions. One of the keys here is Haischka’s ability on the piano. While the past decade has seen a waves of avant-garde and modern classical composers try their hand at solo piano, the majority have turned in overly simplistic attempts that have rarely risen above the status of nice background music. Hauschka, on the other hand, is a pianist who knows his instrument well, manipulating it nimbly with skillfully engaging melodies that belie any inherent simplicity and constantly demand your full attention. In addition, Ferndorf carries a subtle percussive undercurrent, equally engaging string sections and, occasionally, some well placed brass. Hauschka uses each instrument to add layers and layers of melody that somehow find a way to merge into a beautiful whole. It’s a full package of deftly executed chamber music that should be universally appealing to those who simply can’t deny great music, regardless of the genre. Quaint, powerful stuff.