Radieuse 'Grande valse de concert', RO218 Op 72 (Gottschalk/Maylath) - from CDA67536 - Hyperion Records

Reviews

‘Quite early in the 14-year period that covers these eight volumes the Dublin-born pianist matured into becoming the pre-eminent Gottschalk interpreter. He understands exactly his stylistic range, from the mellifluous Italianate melody of the salon to sheer virtuosity, but without any exaggeration’ (Gramophone)

‘These are sympathetic performances, glowingly recorded’ (BBC Music Magazine)

‘Another neglected area of the 19th-century repertoire has been thoroughly explored and superbly championed by Martin’ (The Guardian)

‘Effective performance of this music requires striking a series of delicate balances: between the learned and the popular, between the progressive and the traditional, between the sensual and the self-conscious. And if you've been following this series, you'll know that no current Gottschalkian catches these special ambiguities more consistently than Philip Martin’ (International Record Review)

‘A beautifully produced disc that is impossible to play without smiling’ (The Times)

‘This is one of the great piano recordings of recent years. Not since the exquisitely chiseled, delicately nuanced playing of such past greats as Wilhelm Kempff, Stefan Askenase, and Walter Gieseking have I heard anything so hypnotically well performed. This release leaves no doubt that Martin is one of today's finest keyboard artists’ (Fanfare, USA)

‘Martin plays every piece with such conviction that value judgements on this music's qualities seem almost churlish … the recording itself is of the very highest standards with superb presence, as we expect from Hyperion’ (International Piano)

Robert Offergeld’s catalogue of Gottschalk’s works tells us that the solo piano version as heard here was arranged by one H Maylath, though the music bears no such attribution. The original work for piano four hands (RO217) was published in Boston in 1865. It was one of many Gottschalk pieces that appeared originally under the name ‘Paul Ernest’. Many pieces by ‘Ernest’, ‘Seven Octaves’, and other Gottschalk pseudonyms, were dedicated ‘To My Dear Friend L M Gottschalk’. The innocent gaiety and irrepressible exuberance of Radieuse, however, surely merit no such bashfulness.

Selon le catalogue de Gottschalk établi par Robert Offergeld, la présente version pour piano solo fut arrangée par un certain H. Maylath—la musique, elle, ne porte cependant aucune attribution de ce genre. Publiée à Boston en 1865, l’œuvre originale pour piano à quatre mains (RO217) fut l’une de ces nombreuses pièces de Gottschalk d’abord parues sous le nom de «Paul Ernest». Maintes œuvres d’«Ernest» et de «Seven Octaves», entre autres pseudonymes de Gottschalk, furent dédiées «To my Dear Friend L. M. Gottschalk» [«À mon cher ami L. M. Gottschalk»]. L’innocente gaieté et l’irrépressible exubérance de Radieuse ne méritent pourtant pas une telle pudeur.

extrait des notes rédigées par Jeremy Nicholas © 2005
Français: Hypérion

In Robert Offergelds Katalog von Gottschalks Werken steht, dass die hier eingespielte Fassung für Soloklavier von einem gewissen H. Maylath stammen würde, auch wenn die Musik die Annahme nicht rechtfertigt. Die originale Fassung für vierhändiges Klavier (RO217) erschien 1865 in Boston im Druck. Sie gehört zu den zahlreichen Stücken, die Gottschalk ursprünglich unter dem Namen „Paul Ernest“ veröffentlichte. Viele Stücke von „Ernest“, „Seven Octaves“ und anderen Gottschalk-Pseudonymen wurden „Meinem lieben Freund L. M. Gottschalk“ gewidmet. Die unschuldige Fröhlichkeit und der unbändige Überschwang von Radieuse verdienen doch sicherlich nicht so eine Schüchternheit.

aus dem Begleittext von Jeremy Nicholas © 2005
Deutsch: Elke Hockings

Other albums featuring this work

Gottschalk: The Complete Solo Piano Music

Philip Martin (piano)

CDS44451/88CDs Boxed set (at a special price) — Download only

With his idiomatic and graceful style, pianist Philip Martin has established himself as the foremost exponent of Gottschalk. The composer had a unique spontaneity and individuality which Martin’s performances bring vividly to the fore. The complet ...» More

Recording details: December 2004
All Saints' Church, East Finchley, London, United Kingdom
Produced by Martin Compton
Engineered by Julian Millard
Release date: September 2005
Total duration: 5 minutes 37 seconds