Variations de concert sur l'hymne portugais, RO290 Op 91 (Gottschalk/Napoleão dos Santos) - 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)

Among a plethora of new works that appeared in the last few months of Gottschalk’s life while he was living in Rio de Janeiro, two stand out: the Grande Fantaisie Triomphale sur l’Hymne National Brésilien (see CD 3) and the present work, originally for piano and orchestra (RO289). The reigning Emperor of Brazil, Pedro II, was the last of the Braganza emperors to rule the country (1831–1889). It was in fact his father, Pedro I (IV of Portugal), who had composed the somewhat four-square Portuguese anthem, and these variations also served the useful purpose of paying homage to Pedro II’s relative, the present King of Portugal, Luis (1861–1889). Napoleão’s arrangement for solo piano was published posthumously.

Parmi la pléthore d’œuvres nouvelles parues dans les derniers mois de la vie de Gottschalk, alors à Rio de Janeiro, deux sont particulièrement remarquables: la Grande Fantaisie Triomphale sur l’Hymne National Brésilien (cf. CD. 3) et la présente pièce, originellement pour piano et orchestre (RO289). L’empereur du Brésil, Pedro II, fut le dernier de la dynastie des Bragance à gouverner le pays (1831–1889). C’était son père, Pedro I (Pedro IV du Portugal), qui avait composé l’hymne portugais, un peu massif, et ces variations permirent aussi de rendre un utile hommage au parent de Pedro II, Luis (1861–1889), alors roi du Portugal. L’arrangement pour piano solo de Napoleão fut publié posthumement.

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

Unter den zahlreichen neuen Werken, die in Gottschalks letzten Lebensmonaten erschienen, als er in Rio de Janeiro lebte, stechen zwei besonders hervor: die Grande Fantaisie Triomphale sur l’Hymne National Brésilien (siehe CD 3) und das hier vorgestellte Werk, dass ursprünglich für Klavier und Orchester war (RO289). Der damals herrschende Kaiser von Brasilien, Peter II., war der letzte des Braganza-Geschlechts, der das Land regierte (1831–1889). Es war übrigens sein Vater, Peter I. (IV. von Portugal), der die etwas ungeschliffene portugiesische Nationalhymne komponierte. Die hier eingespielten Variationen dienten auch dem nützlichen Ziel, dem Verwandten Peters II., nämlich dem damaligen König Ludwig von Portugal (1861–1889), seine Reverenz zu erweisen. Napoleãos Bearbeitung für Soloklavier wurde posthum veröffentlicht.

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

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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: 11 minutes 42 seconds