Ludovico Einaudi is one of the highest-profile artists we’ve ever covered, as close to being a household name as there is in the field of modern composition. The pianist-composer, who will turn 70 this year, has earned his reputation with a consistent career of quality recordings. The Summer Portraits sees him looking back on the faded summers of the 1950s and 60s with a blend of gratitude and wistfulness. This is never more apparent than in the sepia-toned video for “Rose Bay,” a montage of home movies revolving around life at the shore and on the sea. Underlining the theme, a stuffed bear can be seen lounging on a sailboat’s deck.
In contrast, the cover photo seems much more modern, as are the water-themed, blue-drenched videos for the other early singles. Nostalgic as it may be, this is music for modern audiences. The only caveat, of course, is the timing of the release on the last day of January, when Northern Italy is still shivering and sailboats are tucked away for the winter. For those who cannot abide colder weather, the album is a reminder of the warmer joys to come.
The album begins in tenderness, with soft piano accentuating by repetitions of strings. The mind gently sneaks into past and future, a reverie. When the cello makes its presence known on “Punta Bianca,” a melancholic feeling rides the bow; the temporary spell is broken with wordless vocals, which precede a nearly-silent pause, then a recalibration. A similar recalibration occurs twice on “Pathos,” whose title is a giveaway; the composition begins and ends in solo notes, allowing time for the reverberation to set in; but the center is awash in percussion, color and swirl. More than any other piece, “Pathos” portrays the power of memory to bolster the spirits and lift the mind. Cinematic in scope, the 7-minute track suggests a short film, all conflicts resolved by the end.
Throughout his illustrious career, Einaudi has always looked forward, trying new ideas and new adventures, including a seven-record series, scores for film, theatre and opera, and a performance on a floating stage in the Arctic Ice. Now he is beginning to look back. “In Memory of a Dream” is the most representative of his temporal reflections, a tonal heir to 2013’s In a time lapse. By the time the album reaches “Summer Song,” the listener realizes that the composer is comfortable in his own skin, no matter what his age. Past, present and future all offer inspiration. If in one sense Einaudi is recalling the summers of his youth, in another he has entered a different summer: the summer of his career, which continues to grow, exuding sunlight and warmth. (Richard Allen)
Available here