Gwyneth Wentink, Simeon Ten Holt Canto Ostinato Review

by Brice Boorman

In her latest album, Simeon Ten Holt Canto Ostinato, Gwyneth Wentink offers a refreshing and introspective interpretation of Simeon ten Holt’s iconic work, arranged for solo harp. This release on Signum Records presents a unique take on a minimalist masterpiece traditionally performed on multiple pianos, showcasing Wentink’s versatility and musical insight.

Wentink’s rendition of Canto Ostinato captures the essence of ten Holt’s composition while infusing it with the ethereal qualities of the harp. Her arrangement navigates the pastel landscape of minimalism, transforming the repetitive, cyclical structures of the piece into a mesmerizing auditory experience. The album consists of 106 sections, each offering a different facet of the work’s sonic possibilities, from delicate whispers to resounding crescendos.

As a harpist of extraordinary skill and vision, Wentink overcomes the technical challenges of performing a piece for multiple pianos to the harp with finesse. The harp’s natural resonance and sustain allow a seamless flow between sections, creating an organic, almost meditative listening experience. Her interpretation reveals the work’s inherent lyricism, revealing a softer, more introspective side of the music often overshadowed in other arrangements.

One of the standout features of this recording is Wentink’s innovative use of layering. By recording multiple harp parts, she creates a sound that mirrors the communal nature of traditional performances of Canto Ostinato. This approach highlights the piece’s dialogic nature and enhances its dynamic range and textural depth. The result is an intimate and expansive listening experience, inviting the audience into a shared sonic journey.

Canto Ostinato is often described as a living, evolving piece, where each performance offers new insights and experiences. Wentink’s version is no exception. Her interpretation is informed by her extensive background in classical and experimental music and her work in interdisciplinary settings. This breadth of experience shines through in her performance and blends meticulous attention to detail with a sense of spontaneity and exploration.

Gwyneth Wentink’s Simeon Ten Holt Canto Ostinato is a captivating addition to the minimalist repertoire. Her thoughtful arrangement and sensitive performance breathe new life into ten Holt’s masterpiece, offering a fresh perspective for us to savor and enjoy. For listeners familiar with Canto Ostinato, this album provides an opportunity to experience the piece in a new light. For newcomers, it is an inviting entry point into the world of minimalism.