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Hyperion Records

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Portrait of Piers Lane by John Beard (b1943)
Track(s) taken from CDA67967
Recording details: June 2012
Potton Hall, Dunwich, Suffolk, United Kingdom
Produced by Rachel Smith
Engineered by Ben Connellan
Release date: September 2013
Total duration: 7 minutes 29 seconds

'This superbly recorded disc (played on a gorgeously voiced Steinway) is Lane's love letter to the piano. I wish more pianists would share their guilty pleasures like this' (Gramophone)

'Lane in wonderful, debonair mode here, sparkling through a personal encore selection from Jamaican Rumba to a Toccata by his own father, and from Myra Hess to Dudley Moore' (BBC Music Magazine)

'Puts smiles on our faces and tears in our eyes … Katharine Parker's Down Longford Way grows from an Ivor Novello-like charm into an opulently Romantic piece of striking contrast and colour, indeed the perfect choice with which to launch the disc. The playing throughout is first-class: witty where it needs to be, reflective and joyous elsewhere … Lane is a dynamic, insightful pianist who is able to bring a new perspective to the repertoire. His renditions of the Grainger and Bach / Hess pieces are quite beautiful, and in Mayerl's Marigold I can hardly imagine a more heartfelt account' (International Record Review)

'Piers Lane, one of the most versatile pianists around, presents many sides of himself in a selection of pieces that may seem topsy-turvy, incongruous even, but there are some wonderful and brilliant things here to be re-united with or discovered, and each piece is superbly played, with complete identification, and beautifully recorded too—just like a piano should sound, with all of Lane’s colours, dynamics and inflections faithfully relayed' (

Naila Waltz
1867; originally written as an addition to Adolphe Adam's ballet Le corsaire; subsequently used in a revival of the Delibes/Minkus ballet La source, ou Naila of 1866

It was my mother who introduced me to the Naila Waltz, arranged by Ernö Dohnányi (1877–1960) from a ballet by Léo Delibes. How I loved its heady pianism as a fifteen-year-old! The piece was popular, too, with Golden Age pianists like Rachmaninov, Wilhelm Kempff and Lev Pouishnov. The title, though, is somewhat misleading. The ballet it supposedly comes from is called La source (‘The spring’; Naila is the name of one of the leading characters, a nymph), its music composed in 1866 not only by Delibes, but also by Ludwig Minkus. However, the ballet didn’t originally include this waltz. Delius composed it a year later as part of an additional divertissement (known either as Le jardin animé or Le pas des fleurs) for a revival of Adolpe Adam’s ballet Le corsaire. The music was then apparently pinched from Le corsaire for a later production of La source that used mainly Delibes’ music (considered more worthwhile than Minkus’s), given under the title Naila—hence Dohnányi’s transcription becoming known as the Naila Waltz.

from notes by Piers Lane 2013

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