Jeneba Kanneh-Mason | Fantasie Review

By Illiam Sebitz

Jeneba Kanneh-Mason’s debut solo album, Fantasie (Sony Classical, March 7, 2025), reveals a young artist steeped in tradition and eager to shape the music. As a classical pianist, Kanneh-Mason has a clear vision that underpins this album. She shades the journey across centuries and continents by tracing the threads of fantasy, reverie, and remembrance that connect composers as seemingly distant as Chopin and Still, Debussy and Price.

Born into a family already synonymous with excellence in classical music, Kanneh-Mason has carved a space uniquely her own. With Fantasie, she introduces her musical mind with a program highlighting the interconnectedness of musical lineages, using the piano as a vessel for historical conversation and emotional expression.

The album combines a richly varied repertoire: the Romantic gravitas of Chopin’s Piano Sonata No. 2 in B-flat Minor, Op. 35, the mist-shrouded colors of Debussy’s Préludes, the ecstatic modernism of Scriabin’s Sonata-Fantasy, and powerful, spiritually rooted works by Florence Price, Margaret Bonds, and William Grant Still. Though stylistically diverse, the selections form a cohesive narrative about the capacity of fantasy and its expression on the piano.

Each work reflects a distinct facet of Kanneh-Mason’s musical identity. Her affinity for lyrical lines and emotional sincerity becomes the thread that binds them. The album carries the juxtaposition of different voices, from various times, and gets them to speak to one another.

In Chopin’s funeral march, Kanneh-Mason finds solemnity without rigidity. The pacing remains steady, yet her dynamic phrasing breathes life into every cadence. The central trio, often interpreted as a moment of lyrical reprieve, is here transformed into a passage of poignant tenderness, her upper-register voicing pulling sweetness from sorrow.

Debussy’s “La fille aux cheveux de lin” becomes an expression in balance and color. Her light touch dances across the keys, and her nuanced use of the una corda pedal, pressing it to varying depths, adds a delicate shading to each gesture. The result is painterly, impressionism rendered through sound.

Margaret Bonds’ “Troubled Water” receives a performance of rhythmic clarity and spiritual grounding. Kanneh-Mason captures the gospel undercurrent with a flexible groove, each layer articulated with care not to overshadow the melody. Her touch adapts to the call-and-response sections, lending character to every exchange. The virtuosic demands of cascading runs, wide leaps, and a thunderous ostinatos are met with fluidity and flair.

In William Grant Still’s “Summerland,” she traces a luminous emotional arc. Opening with pastel softness shaped by the sustain and expression pedals, the piece swells into a more assertive middle section, Kanneh-Mason leaning into chordal figures with full-bodied tone. The final phrases retreat into a hushed transcendence, balancing harmonic movement with a singing top line.

Florence Price’s “Fantasie Nègre No. 1 in E Minor” also features prominently. Kanneh-Mason emphasizes its thematic connection to spirituals, drawing out the soulfulness of the melody while navigating its technical flourishes with ease. The result is a tribute and a reclamation—honoring Price’s voice within the classical canon.

Scriabin’s Sonata No. 2 in G-sharp Minor conjures seascapes, and Kanneh-Mason meets its shifting moods with sensitivity. The tranquil opening unfolds with restraint and lyricism, while the second movement’s tempestuous currents surge with controlled intensity, her technique serving to convey the narrative.

Debussy’s “Bruyères,” a lesser-known gem, glows in her hands. She evokes the quietude of heathered fields with warmth and detail, every phrase shaped to invite the listener inward.

Kanneh-Mason’s playing reveals a rare synthesis of intellect and emotion. Her technique is never on display for its own sake; it is always in service of the music’s expressive arc. Whether shaping a Romantic sonata, illuminating a French miniature, or honoring a spiritual, she demonstrates a maturity beyond her years.

Fantasie is rooted in the classical tradition and conscious of the legacies it honors. Jeneba Kanneh-Mason asserts her interpretations in the contemporary classical music catalog with gusto. This album will resonate with listeners as it convincingly echoes music across time, culture, and era.

Artist: Jeneba Kanneh-Mason
Album: Fantasie
Label: Sony Classical

Release Date: March 7, 2025

About the author

Illiam Sebitz

Born and raised in a picturesque European village, my fondness for music began during my formative years, when the charismatic tones of the recorder first filled the halls of my primary school. This early fascination escalated into my lifelong pursuit of embracing the melodious charm of the flute; I have even spent time refining my skills at a music conservatoire. As a seasoned music connoisseur, I find myself captivated by the multifaceted world of music. I enjoy writing music reviews to better enable me to explore genres as diverse as world, rock, jazz, classical, folk, and film music, each offering a unique auditory journey that enriches my life and intellect.

In my spare moments, you'll likely find me meticulously crafting my latest woodworking project, sharpening my skills with flute etudes, or inventing tales of fantasy through the art of creative writing. My eclectic interests and expertise harmonize to create a symphony of passion and curiosity that resonates within every aspect of my life as a music enthusiast.