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Hyperion Records

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Adaptation of the cover illustration for Homage to Paderewski (Boosey & Hawkes, 1942).
Track(s) taken from CDA67903
Recording details: January 2011
Potton Hall, Dunwich, Suffolk, United Kingdom
Produced by Jeremy Hayes
Engineered by Tony Faulkner
Release date: November 2011
Total duration: 1 minutes 16 seconds

'Performances of a superlative technique and musicianship. Pianism and sheer musical quality of this order are rare at any time, and Hyperion's recordings … are exemplary' (Gramophone)

'This is a fascinating document. Pieces by Martinů and Castelnuovo-Tedesco are among the gems … overall more reflective than virtuosic, this disc allows Plowright to show off his superb command of texture and colour' (BBC Music Magazine)

'This is an enchanting follow-up to Jonathan Plowright’s 'Hommage à Chopin' disc (CDA67803), and, like that one, it is an eclectic mix of music focused on a central figure … many of the composers have now disappeared into the mists of time, but all of these miniatures are well worth the warmth, affection, lyrical beauty and bravura that Plowright devotes to them … the 24 tracks also include music by Britten, Bartók and Milhaud, adding to a disc that makes a welcome change in being conceived with such imagination. Plowright’s playing throughout is sublime' (The Daily Telegraph)

'Jonathan Plowright's sumptuous range of colours and dynamic control [is] much in evidence … any pianophile will surely find it interesting to have a glimpse into music by the composers of the day. One can find no fault, too, with Hyperion's well-balanced, warmly recorded sound' (International Record Review)

In Memoriam Paderewski
composer
published by Boosey & Hawkes, New York, in the 1942 volume Homage to Paderewksi

Introduction  EnglishFrançaisDeutsch
Born in Berlin of Cuban ancestry, Joaquín Nin-Culmell moved to the USA in 1939. He was a prolific composer for the guitar, writing some 100 pieces. In Memoriam Paderewski is another short mazurka, and Nin-Culmell adds a bit of Latin American flavour by the use of syncopation in the second half of the piece. This is achieved by the right hand playing in 3/4 while the left hand simultaneously plays in 6/8.

from notes by Joseph A Herter © 2011

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