Comparisons: Licad/Naxos, Martin/Hyperion
Louis Moreau Gottschalk
was a travelling man. Born and raised
in New Orleans, he spent time in Europe,
Africa, the Carribean, and South America.
Absorbing all these influences, Gottschalk’s
music uses a wide range of styles, but
it always has the stamp of ‘Americana’.
A few weeks ago I read
a review of the Cecile Licad recording
for Naxos of Gottschalk piano works
that put forth the premise that Gottschalk’s
music is played either as a representation
of the early American experience or
as a reflection of European culture
and sensuality.
I largely agree with
the above view, and my comparison recordings
are at opposite poles of the spectrum.
With Cecile Licad, we have the dynamic
energy of a young nation hungry for
expansion and greater world stature;
her tempos are fast, rhythms are sharply
etched, and exhilaration is in the air.
In complete contrast, Philip Martin
conveys a suave Gottschalk full of warmth,
luxury, and sensuality. Martin’s approach
is certainly attractive and often delectable,
but I find he generally misses the indigenous
character of Gottschalk’s music. In
addition, Gottschalk was quite an adventurer,
and it is Licad who conveys that spirit
in her performances.
Warner Apex has now
reissued a 1984 recording of Gottschalk
piano music performed by the veteran
pianist Noël Lee. Does Lee present
the American experience or the more
cosmopolitan and sensual approach? Neither
really, as he inhabits an indistinct
world where Gottschalk’s musical personality
is neutral. The readings are certainly
not invigorating but also not warm and
inviting. They strike me as dry and
clinical, essentially dutiful in fulfilling
the task of playing music from a score.
Lee’s interpretations never take flight,
the excitement offered being just a
small fraction of what Licad has to
convey. Although I’m not smitten with
the Martin recordings, his elegance
definitely has the advantage over the
rather literal performances from Lee.
Further, Lee displays a rhythmic rigidity
and minimal changes in dynamics which
sap much of Gottschalk’s music of its
life-enhancing properties.
Concerning particulars,
Pasquinade/Caprice is a good example
of Lee’s inflexible rhythms that make
listening rather boring. The Union has
a Star Spangled Banner section that
should touch the heart, but Lee doesn’t
appear to realize its uplifting values.
Even in a religious
meditation such as The Last Hope, Lee
makes me wonder why the piece has been
a mainstay in many hymn-books; he simply
does not radiate any spirituality.
Well, the list of readings
gone astray applies to every piece of
music on Lee’s program. The recorded
sound is quite good for the time period
with my sole reservation being a tendency
for shrill higher notes. The competition
is not huge for this repertoire, but
Lee falls well below the norm. My best
recommendation is to take a pass on
this disc and go straight for the Licad
recording. If you’re not particularly
interested in the early American experience
and prefer warmly sensual music, the
Martin series on Hyperion should be
very rewarding.
Don Satz
Noël Lee, piano 
