Some classical artists specialize in certain composers or concentrate on a particular musical period, but Christopher O’Riley is considerably more catholic in his tastes.
Sure, the pianist can play works by the likes of Ravel and Rachmaninoff, as he will demonstrate in more traditional Colorado Symphony concerts during the next several days.
But in recent years, he has also plunged into repertoire of a decidedly more popular and, in some ways, risky nature, and that was the focus of a symphony-sponsored recital Wednesday in the Seawell Ballroom.
The concert featured the adventurous and multitalented pianist performing nearly two dozen of the songs by Radiohead, Elliott Smith and Nick Drake that he has transcribed and recorded.
“Second Grace: The Music of Nick Drake” was just released Tuesday. It brings together 14 selections by the troubled singer- songwriter, who died of an overdose of antidepressants at age 26.
It was O’Riley’s first program anywhere to feature songs of all three artists, and he masterfully interwove the selections so there was variety but also an overall feeling of cohesiveness and consistency.
No doubt perceptions of these transcriptions depend in large part on the backgrounds of those listening to them. Fans of the three artists will hear them one way, and others, like me, with only a passing acquaintance, will inevitably hear then another.
That said, I found these arrangements fresh and appealing, with a surprising amount of depth and substance.
They feel honest and unforced, because O’Riley does not pander to the music and he does not try to deny or disguise what he is: a classical pianist. And he brings the same care to them as he does everything else.
He opened with a work by each of the three artists, including a big, kinetic version of Smith’s “Cupid’s Trick,” filled with cascading notes and flying fingers. Together, they offered a good taste of what was to come.
Other highlights, and there were many, included Drake’s evocative “Northern Sky,” a transporting take on Radiohead’s “Videotape” and a suitably emphatic version of Radiohead’s “Black Star,” which drew perhaps the biggest ovation of the evening.
If classical music is to remain a vibrant, relevant art form, hip, intelligent crossover efforts like this one must be part of the mix.
Fine arts critic Kyle MacMillan can be reached at 303-954-1675 or kmacmillan@denverpost.com.
