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Ricordati 'Nocturne, méditation', RO227 Op 26

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

 
‘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

Recordings

Gottschalk: Piano Music, Vol. 4
CDA67118Please, someone, buy me …
Gottschalk: The Complete Solo Piano Music
CDS44451/88CDs Boxed set (at a special price)

Details

Track 14 on CDA67118 [3'08] Please, someone, buy me …
Track 14 on CDS44451/8 CD4 [3'08] 8CDs Boxed set (at a special price)

Track-specific metadata for CDS44451/8 disc 4 track 14

Artists
ISRC
GB-AJY-99-11814
Duration
3'08
Recording date
13 May 1999
Recording venue
All Saints' Church, East Finchley, London, United Kingdom
Recording producer
Martin Compton
Recording engineer
Antony Howell & Julian Millard
Hyperion usage
  1. Gottschalk: Piano Music, Vol. 4 (CDA67118)
    Disc 1 Track 14
    Release date: February 2000
    Please, someone, buy me …
  2. Gottschalk: The Complete Solo Piano Music (CDS44451/8)
    Disc 4 Track 14
    Release date: October 2011
    8CDs Boxed set (at a special price)
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