Nocturnes for Night Owls (CD review)

Classical Treasures for Sweet Dreams. Lara Downes, solo piano. TriTone Music.

Pianist Lara Downes has done several of these theme albums over the past few years, with titles like Invitation to the Dance, American Ballads, and Dream of Me. This latest collection, Nocturnes for Night Owls, she describes as "Classical treasures for sweet dreams." I think you can guess the kind of music it involves.

The program of sixteen short pieces begins with Prokofiev's "Evening," slightly odd in mood and character but appropriate to the occasion. Debussy's "Reverie" and Chopin's Nocturne No. 1 follow, both of them wonderfully soothing. Then we get "Hebrew Lullaby Nos. 1 and 2" by Lazare Saminsky, performer-conductor-composer of Jewish music, both works comfortably realized.

Poulenc's Nocturne in C is perhaps the most challenging piece on the disc, though this is not to say it isn't as restful as the other music. Among the additional items on the program, I enjoyed Satie's "Gymnopedie No. 3," Prokofiev's "The Moon Over the Meadows," and, of course, Beethoven's Adagio from his Moonlight Sonata.

Apparently, Ms. Downes intended the album for children as well as adults, as the rather precious album title and cover art indicate. The performances are certainly ultrasmooth, soothing, and gentle. In a liner-note poem about the music she writes, "Listen quietly, listen well, Let this music weave its spell; Let these lovely lullabies Help to close your owlish eyes; Tuck your wings and burrow deep To peaceful dreams and quiet sleep." Music to put you to sleep? Sounds like.

I've listened to this album twice now, the first time during dinner. We had guests over, and my wife put the music on because the disc happened to be sitting on the stereo cabinet waiting for someone to play it. It impressed me during dinner where it provided a perfect backdrop for our casual conversation. The next day I sat down and listened more seriously, finding it not quite as affecting but still charming.

Ms. Downes plays the material in a manner fitting the album's theme, so don't expect anything particularly revelatory, penetrating, or innovative. If you're looking for those qualities, try Rubinstein, Horowitz, Ashkenazy, Kovacevich, Kissin, and the like. Ms. Downes performs the music lightly, delicately, dreamily rather than in any grand style.

The recording itself, made in 2010 at the Sherman & Clay Recital Hall, Roseville, California, is somewhat narrow in stage width, almost monaural, and soft in tone. Yet it suits the nature of the music just fine, even if it won't please every audiophile. While the warmth of the piano nicely complements the sweetness of the playing, it doesn't really clarify the notes especially well. Who cares. It beats New Age elevator music by a country mile.

JJP