Soon to be released by First Hand Records, The Future is Female, The Dance is the second in a three-volume series of recordings featuring works by women composers from the 17th through the 21st centuries, encompassing thirty compositions by women, and including commissioned works and world premiere recordings, played by pianist Sarah Cahill, whose repertoire now includes over seventy works by women composers, including among others, Pauline Oliveros, Tania León, Eve Beglarian, Mary D. Watkins, Julia Wolfe, Ursula Mamlok, Meredith Monk, and Annea Lockwood.
In the words of Sarah Cahill, “The Future is Female… does not attempt to be exhaustive, in any way, and the three albums in this series represent only a small fraction of the music by women which is waiting to be performed and heard…”
Recorded at St. Stephen’s Church, Belvedere, California, last year and produced and recorded by Matt Carr, The Future is Female, Vol. 2, The Dance features Élisabeth Jacquet de la Guerre’s Suite No. 1 In D Minor; Clara Schumann’s Variations, Op. 20; Germaine Tailleferre’s Partita; Zenobia Powell Perry’s Rhapsody and Madeleine Dring’s Colour Suite along with several 20th century compositions by Betsy Jolas, Elena Kats-Chernin, Meredith Monk, Gabriela Ortiz, and Theresa Wong.
Throughout the album’s multiple tracks, ranging from Élisabeth Jacquet de la Guerre’s stately baroque courante, gigue, sarabande, and chaconne, on through the 20th century tango of Betsy Jolas, Elena Katz-Chernin’s down-home rag, Madeleine Dring’s sultry Colour Suite, Meredith Monks’ laid-back St. Petersburg Waltz, and capping it all with the whimsical closing track of Theresa Wong’s She Dances Naked Under Palm Trees, Sarah Cahill plays with elegance, clarity, flawless technique, and full commitment to each piece, delivering a delightful recorded recital worthy of the attention of those interested in piano music from all ages.
Rafael de Acha © 2022
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