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CD - Out Of My Hands

Christopher O'Riley - New Record!

DIGITAL SINGLE - Nirvana's "Heart Shaped Box"

Christopher O'Riley Piano interpretation - New Single!

Christopher O'Riley indulges in the thick and highly dynamic music of Kurt Cobain & Nirvana, with this great new single from the upcoming new album. Get it now.

Digital Exclusive (White Tie Records). Available as a download or ringtone. No DRM mp3 version.

CD - Second Grace: the Music of Nick Drake

Audio CD (April 10, 2007)
Original Release Date: April 10, 2007
Number of Discs: 1
Label: World Village USA

Pianist Christopher O'Riley again dances with the possibility of cliché and instead pirouettes into art. Second Grace: The Music of Nick Drake marks his fourth album of covers, joining his two CDs of Radiohead tunes (Hold Me to This and True Love Waits) and one exploring singer-songwriter Elliott Smith (Home to Oblivion). O'Riley is attracted to quirky composers and tragic writers, and Nick Drake, who died of an overdose at 26 after only three albums, fits both bills. Although Drake had a fondness for jazz voicings and odd chord changes, he was ultimately a more direct and simpler composer than Radiohead's Thom Yorke or Elliott Smith. O'Riley respects that in his interpretations. Whereas his previous albums often ventured into flights of unalloyed atonality, Second Grace feeds on the autumnal melodic lyricism that Drake pursued over the course of his three albums, Five Leaves Left, Bryter Layter, and, of course, Pink Moon, the title piece from which helped reignite interest in Drake's music when Volkswagen unearthed it for a TV spot in 2000. O'Riley doesn't attain that fragile, on-the-edge-of-disappearing voice that Drake had. Instead, he replaces it with the quiet reserve heard in the minimalist feel of "Riverman" and the breathy rhapsody on "One of These Things First." The lounge-jazz break in the middle of that tune seems like last call at Joe's Pub. A concert pianist, O'Riley often cites classical sources for inspiration in his arrangements, including Baroque composer Couperin in the lyrical treatment of "Introduction: Bryter Layter." As with his previous interpretations, I'm not sure that Second Grace would actually appeal to Nick Drake fans. Instead, it stands on its own ground, a passionate and obsessive hymn to a lost voice. --John Diliberto

CD - Home To Oblivion: A Tribute To Elliott Smith

Audio CD (April 11, 2006)
Original Release Date: 2006
Number of Discs: 1
Label: World Village USA

Christopher O'Riley has gained recent renown for his two albums of piano adaptations of Radiohead songs, Hold Me To This and True Love Waits. He successfully found the inner classical composer in Thom Yorke, and turned the art-rock group's ambitious songs into symphonic excursions for solo piano. O'Riley brings the same technique to bear on Elliott Smith, a singer-songwriter of considerably more fragile design but who still reveled in idiosyncratic song structures and dense arrangements. Like the Radiohead albums, this isn't Smith turned into Muzak. O'Riley probes the dark underside of Smith's lyrics instrumentally, with shrouded chord clusters and tonal washes. He'll often go toward the angular more than the melodic, fracturing songs sideways. The approach is challenging and sometimes oppressive. It's a relief when he emerges from a storm of overtones to an almost baroque minuet on "Coast to Coast." So goes it for most of Home to Oblivion, as O'Riley makes Smith's music his own. "Independence Day" comes off almost as a jaunty boogie-woogie in O'Riley's hands, while "Cupid's Tricks" is a delirious swirl with piano lines tumbling over each other against aggressive left-hand chord stabs. O'Riley finds echoes of Chopin, Mozart, and Satie in Smith's ruminations. I confess that I've not plumbed the depths of the Elliott Smith oeuvre as Christopher O'Riley has so lovingly and obsessively done. But I suspect that fans of the singer-songwriter might find this CD almost worth it just for the pianist's liner-notes meditation on the life and music of Smith, who committed suicide in 2003. --John Diliberto

You have to give Christopher O'Riley credit. Even though he's already put out an excellent CD of Radiohead piano compositions, there's enough great material in the band's studio albums that he could have easily filled this second disc with crowd-pleasers. And while he did include "Street Spirit" and "No Surprises," he also threw in some surprises, great B-sides like "Polyethylene Part II" and "Gagging Order." That's not the mark of a hustler looking to cash in on one of the best bands making music today--no, it's the mark of a true fan.

CD - True Love Waits: Christopher O'Riley Plays Radiohead

Performer: Christopher O'Riley
Composer: Radiohead, Unspecified
Audio CD (June 10, 2003)
Number of Discs: 1
Label: Sony

Rock bastardizations of classical music are as old as Kim Fowley's--and ELP's--Tchaikovsky tweaking "Nutrocker." But classical interpretations of rock music have generally been something of a high-wire act. While most pop fare has strong melodic foundations for the soloist to build from, Christopher O'Riley has challenged himself here with the catalog of Radiohead, one of modern rock's most acclaimed--and texturally complex--bands. O'Riley's insightful gifts for interpretation (which have previously enlightened everything from Stravinsky to P.D.Q. Bach) produce a hypnotic, emotionally compelling listening experience here; O'Riley is a huge Radiohead fan, and that love courses through everything from the dreamy, bittersweet title track through the brooding loveliness of "Let Down." Radiohead's stock in trade is dense, multi-layered music that leans heavily on electronic processing for its moody sonic atmospherics; O'Riley's evokes those complex textures with but a judicious use of the sustain peddles, a deft use of dissonance (as on "Knives Out"), and a rhythmically anxious left hand. Call them etudes for the post-modern age if you will, but O'Riley's performances here largely achieve what all great interpretations strive for: New insight and enlightenment. --Jerry McCulley

CD - Christopher O'Riley At The Break

Performer: Christopher O'Riley
Audio CD (October 1, 2001)
Number of Discs: 1
Label: From the Top

Product Description
"Christopher O’Riley At the Break" is the new compact disc by the renowned concert pianist and host of "From the Top," the hit public radio showcase for America’s best pre-collegiate classical musicians.
This collection of 29 works for solo piano is a compilation of pieces O’Riley played on "From the Top," which is heard on more than 200 radio stations nationwide. These pieces were performed at the mid-point of the broadcasts, a required break of approximately 2 minutes during which many stations insert locally generated announcements. According to Chris O’Riley, "It depends on one’s local station, and its own use of ‘the breaks.’ This collection serves as a fondly renewed acquaintance with some favorites of mine as well as some pieces a bit further off the beaten path. For other listeners, this is a great group of exquisite miniatures – a premiere entree into many new worlds." From the Top is a creation of Concert Productions, Inc. in association with WGBH Radio Boston and New England Conservatory, its home and educational partner. Public Radio International distributes the program. From the Top receives support from the U.S. Department of Education, the National Endowment for the Arts, the Massachusetts Cultural Council, as well as individuals, foundations and corporations.

CD - Vers La Flamme - Scriabin

Performer: Christopher O'Riley
Audio CD (October 1, 2001)
Number of Discs: 1
Label: Image Recordings, LLC

With a touch most tender, exquisitely soft, fragile like liquid glass, as if every note drips from the keys, melts over the barline- as if there were no barline at all, only a continuum of silence and tone- radio personality Christopher O'Riley conveys this materpiece with the soaring arc of a bird and the rushing, lifiting buoyancy of the wind that lifts it. His command of the emotion stirs the mind's appetite for more and more as he holds forth crystalline morsels of precious sensory perfection, hungering the ear for a feast, as a brook promises to feed a waterfall which promises to feed the ocean. He has perfected the position of the musician- the musician himself dissolves, the musician himself is invisible as nothing stands between the music and its cognition.

CD - Roger Helps, John Adams, Todd Brief, Roger Sessions

A sonata by Roger Sessions, pieces by Todd Brief, Robert Helps, and John Adams: a thread connects this recital of American piano music written over the past half century or so. Each piece exemplifies a distinctly American treatment of a traditional form or style of composing for the piano. The Sessions sonata is a one-movement work whose infrastructure reveals a three-movement sonata format that Haydn himself might recognize. Robert Helps uses the theme-and-variations form to pay homage to Fauré's lustrous chromaticism. John Adams's two minimalist studies recall the toccata, one of the oldest styles for exploiting the keyboard's capacity for demonstrating varieties of touch, texture, and speed. In Nightsong, which Todd Brief began by improvising at the piano, the composer reminds us of the historic link between composers like J.S. Bach and Chopin, virtuosos who like to improvise at the keyboard, and jazz composers, whose performances consist almost entirely of virtuoso improvisation.

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