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Track(s) taken from CDA67118

Ricordati 'Nocturne, méditation', RO227 Op 26

composer
? 1856; published in New York in 1857; alternative titles: Yearning; Romance

Philip Martin (piano)
Recording details: May 1999
All Saints' Church, East Finchley, London, United Kingdom
Produced by Martin Compton
Engineered by Antony Howell & Julian Millard
Release date: February 2000
Total duration: 3 minutes 8 seconds

Cover artwork: Exotic Landscape (1910) by Henri Rousseau (1844-1910)
 
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Reviews

'Immaculately delivered, recorded and presented in every way … every track is a delight. A joy to listen to' (Gramophone)

'Gottschalk's elegant sensuality has surely had its most gracious advocate in Philip Martin … this is Gottschalk playing at its most refined.' (International Record Review)

'Played with refinement and elegance' (Classic CD)

'The shining brilliance of Gottschalk is superbly captured by Martin’s wonderful pianism. This musician’s personality, intelligent, technically transparent, and subtly colored, matches those traits in Gottschalk with unerring sympathy. I can only join the chorus of critical praise for previous instalments in this series' (Fanfare, USA)

'Maintains the high standards of playing and recording that we have come to expect' (Hi-Fi News)
‘At the time of my first return from Europe,’ wrote Gottschalk in his Notes of a Pianist in December 1864, ‘ I was constantly deploring the want of public interest for pieces purely sentimental; the public listened with indifference; in order to interest it, it became necessary to astound it; grand movements, tours de force, and noise had alone the privilege in piano music, not of pleasing, but of making it patient with it.’ Notwithstanding his own aversion to such popular tear-jerkers as The Maiden’s Prayer, Home, Sweet Home, Old Folks at Home and the like (‘trashy sentimental pieces which … threaten to obliterate the last vestiges of the pure and serious art which the great masters bequeathed us’ was his verdict), Gottschalk clearly believed that his own contributions to the genre were of a different order. The Last Hope, The Dying Poet and this dangerously saccharine romance (which the composer referred to as ‘a dreamy character and full of pathos’) are part of a long and continuing tradition of unashamedly maudlin morceaux which the general public take to their hearts.

from notes by Jeremy Nicholas © 2000

«À l’époque de mon premier retour d’Europe», consigna Gottschalk dans ses Note d’un Pianiste, en décembre 1864, «je déplorais constamment le manque d’intérêt du public pour les pièces purement sentimentales; le public écoutait avec indifférence; pour l’y intéresser, il fallut l’étonner: les mouvements grandioses, les tours de force et le bruit avaient seuls le privilège dans la musique pour piano, non de plaire, mais de rendre patient.» Nonobstant sa propre aversion pour des morceaux populaires, mélodramatiques, comme The Maidens Prayer, Home, Sweet Home, Old Folks at Home, etc. («des pièces sentimentales de pacotille qui … menacent d’oblitérer les derniers vestiges de l’art pur et sérieux que les grands maîtres nous ont légués», tel était son verdict), Gottschalk croyait manifestement que ses contributions au genre était d’un tout autre ordre. The Last Hope, The Dying Poet et la présente romance, dangereusement sirupeuse («rêveuse et toute de pathos», pour reprendre les termes du compositeur), font partie de cette longue tradition ininterrompue de morceaux effrontément larmoyants, que le grand public affectionne.

extrait des notes rédigées par Jeremy Nicholas © 2000
Français: Hypérion

„Um die Zeit meiner ersten Rückkehr aus Europa“, schrieb Gottschalk im Dezember 1864 (in seinen Notes of a Pianist), „beklagte ich ständig das mangelnde Interesse des Publikums an rein sentimentalen Stücken; es hörte gleichgültig zu; um es zu interessieren, mußte es in Erstaunen versetzt werden; grandiose Sätze, pianistische Glanzleistungen und Lärm hatten in der Klaviermusik das alleinige Privileg, nicht etwa das Publikum zu erfreuen, sondern es ihr gegenüber nachsichtig zu stimmen.“ Ungeachtet seiner Abneigung gegen beliebte Schnulzen wie The Maiden’s Prayer, Home, Sweet Home, Old Folk at Home und dergleichen („… mindere rührselige Stücke, die … die letzten Reste jener reinen und ernsthaften Kunst auszulöschen drohen, die das Vermächtnis der großen Meister ist“, lautete sein Urteil) war Gottschalk eindeutig überzeugt, daß seine eigenen Beiträge zur Gattung von anderem Kaliber waren. The Last Hope, The Dying Poet und diese gefährlich süßliche Romanze (vom Komponisten als „verträumten Charakters und voller Pathos“ bezeichnete) gehören einer langen und anhaltenden Tradition unverhohlen gefühlsseliger morceaux an, denen sich die Herzen der Allgemeinheit öffnen.

aus dem Begleittext von Jeremy Nicholas © 2000
Deutsch: Anne Steeb/Bernd Müller

Other albums featuring this work

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