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      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:caption>Whatever it is, the way you tell your story online can make all the difference.</image:caption>
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      <image:caption>XXII PRELUDES FOR SOLO PIANO Release Date: Winter 2026 Laying Down the Cards: The Preludes of John Beckmann New York, NY — Listening to John Beckmann’s 22 Preludes for Solo Piano, I am transported to my first encounter with magical realist Italo Calvino’s The Castle of Crossed Destinies, which taught me an invaluable lesson about narrative. First published in 1969, Calvino’s novel consists of vignettes introduced by a nameless narrator who finds himself, after trials and tribulations, at the titular castle, which upon entering he realizes is a meeting place for wayward souls. Inside, a congregation sits around a table. Bound by a mysterious silence, and with only a tarot deck at their disposal, these disembodied travelers lay down a series of cards, by which the narrator interprets their life stories. Thus, music affords us only flashes of insight from which to rebuild the inner worlds of its creators because listening, like reading, invites us to fill in the blanks left within its traces. Beckmann offers his own spread, arrayed yet open to possibilities only the inner ear’s hardware can transmit. Ostensibly, they are etudinal meditations in mostly minor keys, thus imbued with a sense of melancholy. However, in that downturn is a beauty so stark and honest that one wonders whether it could ever hold its breath long enough to emerge from more saccharine waters. In that same breath of joy are embedded molecules of sadness. Music is a realm where such emotional extremes blend so frequently that their distinctions fade. The Preludes, in particular, offer themselves on the altar of self-reflection. Like the psycho-spiritual archetypes that loosely inspired their creation, they are not prophetic but rather portals of introversion that require deep honesty and willingness to know ourselves as we are. Happiness need not be the magnetic north of our listening compass, as each cardinal direction (and countless points between) directs us to a promise of creative will waiting for consummation in the listener. Like a reflection on a pond’s surface at dawn, the gentlest stirrings of air in these organically cultivated pieces cause the surface image to lay its heartstrings bare, bringing forth new vibrational possibilities in every disturbance. Beckmann’s notes congeal as if of their own volition, manifesting themselves from the body before being filtered through the perspective of another. When pianist Fatjon Zefi, whose rendering constitutes the present recording, first heard the music, he found it challenging and beautiful—yet another contradiction on paper that feels natural in execution. Over the course of a year, Zefi “translated” the pieces by ear, allowing them to develop new muscular and synaptic connections along the way. The result is a project that is as much the interpreter’s as it is the composer’s. In this sense, one might draw an easy line of connection to the music of G. I. Gurdjieff, whose collaboration with pianist Thomas de Hartmann was integral to preserving the Armenian mystic’s melodic legacy. Thus, in thinking about what is being preserved in Beckmann’s sound world, it may just be the need to cup our ears around flames of darker shades. Whether through lighter applications of flesh, as in the string dampening of Preludes IX and XIV, or the overall sense of resistance to tyranny that undergirds every scenic bleed-through, the pieces highlight a gentle physicality, periodically changing the gauze around wounds that overlap as much as they differentiate. While the sudden shifts of register in Prelude V move at the speed of thought, others, like Preludes XVI and XIX, move with greater regularity so that we have more time to orient ourselves to the immediate environment. The underlying hymnal qualities elucidated and unraveled in Prelude VIII prove that joy is meaningless without sadness and that the road to unity is paved with division. The final Prelude combines all these elements: flesh and spirit, earth and sky, entrenchment, and escape. These contrasts are the music’s truths and its spiritual quest. To be sure, minimalism is the primary mode of operation and movement throughout the Preludes. However, presenting itself in such a manner opens channels of expression that only the purest of foundations can accommodate. Thinking about this music in light of a pandemic, questions of cure versus care come to the foreground from their diametric recesses. As Estonian composer Arvo Pärt once said, “You can kill people with sound. And if you can kill, then maybe there is also the sound that is the opposite of killing. And the distance between these two points is very big. And you are free—you can choose. In art everything is possible, but everything is not necessary.” By pulling out the salvific tools from a downward spiral of self-destruction, Beckmann helps us grow together in the spirit of something greater than all of us. Such is the liminality of life, vacillating between sea, land, and sky, never forgetting the flesh that binds each to the others. So, rather than deny our melancholy, let us lay it down like a series of Calvino’s cards, letting its esotery morph into questions, and those questions into answers. Because sometimes, the only way to learn from our hardships is to let them speak (and sing) for themselves. MUSICIANS: John Beckmann: composer Fatjon Zefi: pianist Samuele Bergamini: mastering Made in NYC and Turin, Italy</image:caption>
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    <lastmod>2025-12-22</lastmod>
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    <lastmod>2024-02-07</lastmod>
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