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Track(s) taken from CDH55454

Love walked in

composer
arranger
1945

Piers Lane (piano)
Recording details: April 2001
Henry Wood Hall, London, United Kingdom
Produced by Amanda Hurton
Engineered by Tony Faulkner
Release date: June 2002
Total duration: 3 minutes 35 seconds

Cover artwork: Front illustration by Roland Piper (b?)
 
1

Other recordings available for download

Ronald Stevenson (piano)

Reviews

'Musically enchanting fare … everything is played with unfaltering command … the recording and presentation are immaculate' (Gramophone)

'Inspired re-creations … strongly recommended to connoisseur and newcomer alike … Grainger's eclectic, idiosyncratic piano transcriptions, despatched with light-fingered clarity. Strauss swoons, Stephen Foster's all of a tingle. Excellent notes, too' (BBC Music Magazine)

'A delight from start to finish' (The Observer)

'Beautiful tone and colours … playing of real beauty in the two exquisite Fauré arrangements' (International Record Review)

'Salon esprit without sentimentality and with a touch of humor and poetry: what more could one ask from this music?' (American Record Guide)

'Heroic stamina by Piers Lane' (The Times)

'A charming recital, beautifully played and recorded' (Classic FM Magazine)

'Lane boasts a fabulous technique … succulent performances' (Fanfare, USA)

'A fine selection … an easy listen that often delights the ear' (Pianist)

'This disc moves into the fruitful territory of Percy Grainger’s piano transcriptions, allowing Piers Lane to indulge in flights of virtuosic fantasy and reveal the emotional breadth of these works' (Music Week)

‘Piers Lane rises to this repertoire’s not-inconsiderable challenges in a judiciously programmed and brilliantly executed recital’ (ClassicsToday.com)

'It is one of those CDs where surprise comes on surprise. Great fun' (Essex Chronicle)

‘Piers Lane concilie le panache avec une sensibilité très vive’ (Diapason, France)

'Le pianiste joue franc jeu et rend un bel hommage au compositeur' (Le Monde de la Musique, France)
Although there is no evidence that Grainger ever met George Gershwin, he included the latter’s Piano Concerto and Rhapsody in Blue in his concert repertoire, having publicly performed the concerto for the first time in 1944. Grainger considered Gershwin’s music to be rooted in the traditions of cosmopolitan classical music, and would fearlessly assert that his true originality lay in his songs. Two pieces were arranged to supply suitable encores, yet at the same time pay homage to music Grainger all but worshipped. Love walked in (1945) features one of Grainger’s ‘musical glasses’ effects in conjunction with the melody.

from notes by Barry Peter Ould © 2002

Bien que rien ne permette d’affirmer que Grainger ait jamais rencontré George Gershwin, il inscrit le concerto pour piano et la Rhapsody in Blue de ce dernier à son répertoire de concert, et joue pour la première fois le concerto en public en 1944. Considérant la musique de Gershwin comme enracinée dans les traditions de la musique classique cosmopolite, Grainger ne craint pas d’affirmer que sa véritable originalité se révèle dans ses mélodies. Il arrange deux pièces du compositeur américain qui se prêtent à être jouées en bis, rendant par la même occasion hommage à une musique qu’il n’est pas loin d’idolâtrer. Love walked in («L’Amour est entré», 1945) associe une fois encore les effets de l’harmonica de verres à la mélodie.

extrait des notes rédigées par Barry Peter Ould © 2002
Français: Josée Bégaud

Obwohl es keine Beweise dafür gibt, dass Grainger je George Gershwin begegnete, nahm er doch das Klavierkonzert und Rhapsody in Blue von Gershwin in sein Repertoire auf, nachdem er das Klavierkonzert 1944 erstmals öffentlich aufgeführt hatte. Nach Graingers Ansicht waren die Werke Gershwins in den Traditionen der kosmopolitischen klassischen Musik verwurzelt, und er stellte furchtlos fest, dass Gershwins wahre Originalität in seinen Liedern liege. Er bearbeitete zwei Stücke, um sie als Zugaben zu spielen, und um zugleich eine Musik zu auszuzeichnen, die er verehrte. In Love walked in (1945) ist ein weiterer „musikalische-Gläser-Effekt“ in Verbindung mit der Melodie zu finden.

aus dem Begleittext von Barry Peter Ould © 2002
Deutsch: Viola Scheffel

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