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Track(s) taken from CDA67118

Apothéose 'Grande marche solennelle', RO8 Op 29

composer
? 1856; published in New York in 1858

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: 11 minutes 36 seconds

Cover artwork: Exotic Landscape (1910) by Henri Rousseau (1844-1910)
 
1

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)
‘This long and tedious work is one of the few in Gottschalk’s oeuvre to suffer from overly bland thematic material’ is the verdict of the composer’s biographer, S Frederick Starr. It is an opinion that is hard to dispute. With its imposing title and opening measures (‘grandioso largo maestoso’), Apothéose is a succession of heroic gestures—martellato tutta la forza, trionfale, con passione delirando, tumultuoso and similar requests, its central F sharp major section scored on three staves—but is full of sound and fury signifying very little. With elements of Schumann, Chopin and other Gottschalk works (one passage was to be recycled in his Grand Fantasy on The Brazilian National Hymn, 1869), Apothéose seems to have originally been a fragment from his Concerto in F (or F minor) (1853) which is now lost. Gottschalk dedicated the piece to King Leopold I of Belgium.

from notes by Jeremy Nicholas © 2000

«Cette longue et fastidieuse pièce est l’une des rares de tout l’œuvre de Gottschalk à souffrir d’un matériau thématique ouvertement insipide», tranche S. Frederick Starr, biographe du compositeur. Voilà qui est difficilement contestable. Avec son titre imposant et ses mesures d’ouverture («grandioso largo maestoso»), Apothéose est une succession de gestes héroïques—martellato tutta la forza, trionfale, con passione delirando, tumultuoso, etc., sa section centrale en fa dièse majeur étant écrite sur trois portées—mais regorge de sons et de furie signifiant fort peu de choses. Dotée d’éléments de Schumann, de Chopin et d’autres œuvres de Gottschalk (un passage devait être recyclé dans sa Grande Fantaisie Triomphale sur l’Hymne National Brésilien, en 1869), Apothéose semble avoir été, à l’origine, un fragment du Concerto en fa (ou fa mineur) de 1853, désormais perdu. Gottschalk dédia cette pièce au roi Léopold 1er de Belgique.

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

„Dieses lange und schwerfällige Werk ist eines der wenigen in Gottschalks Œuvre, das unter allzu farblosem Themenmaterial leidet“, lautet das Urteil von S. Frederick Starr, dem Biographen des Komponisten. Dieser Meinung kann man kaum widersprechen. Die Apothéose mit ihrem imposanten Titel und den („grandioso largo maestoso“ bezeichneten) Eröffnungstakten ist eine Aneinanderreihung heroischer Gesten—gefordert werden martellato tutta la forza, trionfale, con passione delirando, tumultuoso und ähnliches, und der Mittelteil in Fis-Dur nimmt in der Niederschrift drei Notensysteme ein—, steckt jedoch voller leerem Schall und nichtssagender Wut. Ausgestattet mit Elementen Schumanns, Chopins und anderer Gottschalk-Werke (eine Passage sollte in seiner Grand Fantasy on the Brazilian National Hymn, 1869, wiederverwendet werden), scheint es sich bei der Apothéose usprünglich um ein Fragment seines nicht erhaltenen Konzerts in F-Dur (bzw. f-Moll, 1853) gehandelt. zu haben. Gottschalk hat das Stück König Leopold I. von Belgien gewidmet.

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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