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Track(s) taken from CDA66697

Grand scherzo, RO114 Op 57

composer
1869; published in New York in 1870

Philip Martin (piano)
Recording details: October 1993
Unknown, Unknown
Produced by Martin Compton
Engineered by Antony Howell
Release date: June 1994
Total duration: 5 minutes 0 seconds
 
1

Reviews

'I can't imagine an aficionado of 19th-century piano music who wouldn't want Martin's two recordings… I hope we don't have to wait another three years for the next step in what is turning into an exceptional series' (Fanfare, USA)

'Martin's flair comes through flamboyantly in these virtuosic pieces … the ideal advocate for his music' (Raidió Teilifís Éireann, Ireland)
A late piece in which Gottschalk reverts to his European style and writes in the dark key of D minor, which he employed rarely. Here it is used in a Chopinesque first subject (an impression that is underlined by the frequent emphasis on the third beat of the bar in a 34 metre). The trio, though, is pure Gottschalk (his sentimental side that is), a tender song in the relative major with many ‘tranquillo’ and ‘misterioso’ requests to the player. The end is an unbridled tour de force à la Moszkowski.

from notes by Jeremy Nicholas © 1994

Dans ce morceau tardif, Gottschalk revient à son style européen, composant dans la sombre clef de ré mineur qu’il utilisait rarement. Il l’emploie ici pour un premier sujet chopinesque (impression soulignée par l’accent qui tombe fréquemment sur le troisième temps d’une mesure 34). Mais le trio est du pur Gottschalk (son côté sentimental): une mélodie tendre dans la tonalité majeure relative avec de nombreuses indications «tranquillo» et «misterioso» à l’intention de l’exécutant. Il s’achève en tour de force débridé à la Moszkowski.

extrait des notes rédigées par Jeremy Nicholas © 1994
Français: Madeleine Jay

Eine späte Arbeit, in der Gottschalk sich zu seinem europäischen Stil zurückwendet und in der selten von ihm benutzten dunklen Tonart d-moll schreibt. Diese Tonart wird hier in einem in der Manier von Chopin komponierten Ersten Thema benutzt (ein Eindruck, der von der häufigen Betonung des dritten Taktschlages in einem 34-Metrum bestätigt wird). Das Trio ist jedoch reiner Gottschalk (das heißt, es gibt die gefühlvolle Seite des Komponisten wieder), ein zärtliches Lied in der verwandten Durtonart mit zahlreichen Bitten an den Vortragenden um tranquillo und misterioso. Der Schluß ist eine zügellose Glanzleistung à la Moszkowski.

aus dem Begleittext von Jeremy Nicholas © 1994
Deutsch: Angelika Malbert

Other albums featuring this work

Gottschalk: The Complete Solo Piano Music
CDS44451/88CDs Boxed set (at a special price)
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