Simeon ten Holt (1923-2012)
Canto Ostinato (1973-79, arr. Gwyneth Wentink)
Canto Ostinato (section 74 only arr. Gwyneth Wentink)
Aforisme No.2 (1974, transcr. Jeroen van Veen)
Gwyneth Wentink (harp)
rec. 2023, Forde Abbey, Somerset, UK. 
Signum Classics SIGCD907 [55]

Canto Ostinato is one of the great works of minimalist music, though such is its harmonic richness and scope that it could be termed maximal minimalism. Written originally for four pianos, it must be a daunting task for a solo performer to take on and decide how to shape its 106 sections into a manageable whole. The composer allows the player(s) to choose the duration of the work and said it could last anything from three hours to one day. At 48 minutes this version is one of the shortest versions I have heard. I do not know enough about harp playing but I imagine the player needs to have very tough fingertips to play continuously for even this length of time.

For a work written originally for multiple percussion instruments, it works surprisingly well on the harp. There seems to be something about the register it is played in and the sympathetic resonance of the strings that works really well. Ms Wentink plays sections 1-74 and then a selection of sections 88-106.  Obviously, though, at only a fraction of the length of the composer’s thoughts on the works duration this is ‘Canto Ostinato Light’, but this would be a good introduction to more conventional versions of the piece, as her choices work particularly well in terms of building up the structure to the full appearance of the ‘big tune’ in section 74. This curiously familiar, yet totally original, melody with a slight folk inflection seems made for the harp. She allows us to spend enough time with our old friend but never to wallow. The score contains no dynamic markings; rather as with the choices made over repeats, the performer shapes the music with attention to dynamic choices. Here, Ms Wentink shows, the harp can play from an almost inaudible pianissimo to a roaring fortissimo. Be warned when setting the volume!

In addition to the whole work, we are given on an extra track a version of Section 74. It is exquisite, though it does work best when it grows out of the work as a whole. There is also a transcription by Jeroen van Veen, the leading exponent of ten Holt’s music, of Aforisme No.2 (1974). This is a rather sentimental short work which can be heard as a precursor of Canto Ostinato.

The title of the disc is a little misleading, as the player admits to multi-tracking sections of Canto Ostinato. For a true solo harp version, Assia Cunego is very good (review).

Paul RW Jackson

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