At first hearing, pianophiles might mistake York Bowen’s coruscating keyboard idiom for Rachmaninov or Medtner, although his ravishing harmonic sense is more akin to Delius, Bax, John Ireland, or Cyril Scott, with Gershwin peeking in at times. Pianist Joop Celis certainly has the supple fingers and unflagging stamina needed to surmount Bowen’s formidable demands (the previously unrecorded Sixth Sonata’s shattering climaxes, for example). Nor is he averse to phrasing in poetic arcs, as in the sensual Reverie. Celis’ assured pianism here and throughout the Preludes easily could be recommended, save for Marie-Catherine Girod’s lighter-fingered and more imaginatively inflected performances released around 1994 on the hard-to-find 3D Classics label. And Stephen Hough’s selection of 13 Preludes from Op. 102 maintains a level of tonal refinement and expressive variety that outshines both Celis and Girod, together with Hyperion’s superior recording quality. While Chandos’ sonics make a powerful impact, the piano tone turns strident and monochrome as it increases in volume.
