As I have said many times before with such music, and I’m sure when writing about Michele Nobler‘s deft and delicate blends of modern classical piano, in the absence of lyrics, the music itself is required to do the talking. It has to become more than a pretty melody or interesting musical passage. Sure, it can be that, but it has to speak, too. It has to convey moods and ideas, suggest scenes and scenarios, paint sonic pictures, and do all of this through the careful choice of notes, the perfect arrangement, the use of space and weight, atmosphere, and anticipation—no mean feat.
The album title, Shore Whispers, sets the scene enough for us to deduce that these fourteen piano pieces convey a different aspect or activity of the ocean before us. Each is a gentle reflection of its never-still form, not only describing the ebb and flow of tides, the counterpoint between water and shoreline, the relationship between humanity and nature, man and marine, in a physical sense but perhaps using these as metaphors for the movements and transitional points in our own lives.
These short pieces, generally between two and four and a half minutes, act as sonic glimpses, merely watercolour sketches of thoughts and impressions. Songs such as “Cap Griz Nez” describe standing on the French clifftops, capturing not just the majesty of such a position but perhaps also musing on isolation and standing between worlds as the delicate piano notes weave through our thoughts.
The confident and purposeful trajectory that Nobler delivers on “Together At the Helm” conjures a small boat plotting a course through rough seas but perhaps also a relationship navigating the ups and downs of life’s voyage. “Falling Asleep” speaks to the soothing rhythms of the sea, a lullaby of space and repetition and “Falaise D’Entretat” captures the gorgeous sea views of the coast north of Le Havre, something I have experienced and bring to mind as I play this track, and indeed, this album.
This is Michele Nobler doing what he does best: using space, poised and perfectly placed notes, and, in this case, just the hint of background sonics to enhance the experience and help describe vistas and visions to us. Such is the power of a musician of his expertise and experience that, for the listener, bringing such images to mind is so forthcoming, so easy, in fact, almost impossible to dissuade. This is the power of sonic suggestion at work.
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