Because it's the most immediately accessible of the piano disc's works, let's begin with this two-piano version of Rzewski's hard-driving, viscerally affecting Winnshoro Cotton Mill Blues of 1980. (For the original, spectacularly recorded solo assault, see hatART 6089, North American Ballads & Squares, Frederic Rzewski performing.) The piece pictures its subject, a cotton mill at full tilt, as handily as any tone poem I can think of, working itself thence into a neat transition to the eponymous job-lament dating from the 1930s ("Old man Sargent, sittin' at his desk I The damned old fool won't give us a rest I He'd take the nickels offa dead man's eyes . . . ").
Night Crossing with Fisherman (1994), for two pianos (Ursula Oppens is the dedicatee), isn't quite as thematically coherent as its title suggests. The work divides into three parts, "Night," a moody introspection for piano solo; the aptly titled "Crossing," for two pianos in intense conversation; and "Fisherman," for piano solo and Rzewski's recitation of a passage from the Arabian Nights (politically relevant, of course) about a fisherman who labors through the night for a man asleep. (Presumably it is Oppens who takes the "Night" solo.)
Winnshoro Cotton Mill Blues makes its mark by kicking subtlety out the door. By contrast, Ludes I and 2, of 12 short pieces each (the longest, 1:41, the shortest, 0:38), insinuate themselves into one's affections, playful, will-o'-the-wisp creatures that they are, by degree. Rzewski does an excellent, often fascinating job of explaining his music's background and form. So I won't trouble to summarize his "how these delights came about." Suffice that they range widely in substance and mood, happily short of Rzewski's affection for maul-driven social panaceas.
