This is the third
CD from this magnificent two piano duo
to have come my way recently and I have
no hesitation in recommending the latest
arrival as highly as the other two.
In contrast to the English
and French
compilations, this CD features only
three works, albeit multi-movement suites
with a huge variety of styles and moods.
David Nettle and Richard
Markham have obviously thought hard
about what would make a successful two-piano
version of "West Side Story".
Their aim was to emphasise the bel canto
aspects and not try too hard to emulate
Bernstein’s own Symphonic Dances. As
it is, they have not only been successful
in the former but have also achieved
a suitably driving style for the more
dynamic numbers. True, some menace is
missing from ‘Rumble’ but the use of
the big guns in ‘America’ makes for
a tremendous finale.
Although understandably
less theatrical than the original (and
the Symphonic Dances), Nettle and Markham’s
clever arrangements have led to a work
suitable for the concert hall and the
two piano sonority. There is great warmth
throughout, particularly in ‘Maria’
and ‘I Have A Love’ where one hardly
misses the words, given the vocal quality
of the transcription. The shifting moods
of ‘Somewhere’ are well captured amidst
the powerful declamation. Inventive
piano sonorities are to the fore in
‘Tonight’ in a rich arrangement.
Richard Rodney Bennett’s
Four-Piece Suite is a gift for two pianists
with the luxury of a piano apiece and
David Nettle and Richard Markham make
the most of it. Each movement has both
an authentic feel and is artfully suited
to the instruments. In particular, the
beguilingly gentle ‘Samba Triste’ has
a theme that insinuates itself into
your consciousness with remarkable persistence.
The affectionate tribute to Scott Joplin
of the ‘Ragtime Waltz’ reminded me –
more by association than content – of
Richard Rodney Bennett’s fine variations
on Joplin’s ‘Solace’. The driving ostinati
of ‘Tempo di Hard Rock’ make a powerful
finale and reminds us of the composer’s
skill with film scores and prowess as
a cabaret artist.
It is hard to imagine
how the normally ebullient George Gershwin
felt about the failure of his ‘serious’
opera "Porgy and Bess" and
sad to think that, soon after its première,
the headaches and depression of his
last two years began. One soon puts
aside such thoughts after a few bars
of Grainger’s highly involving Fantasy
on themes from the opera. Following
in the nineteenth century tradition
of operatic fantasies, paraphrases and
variations, Grainger’s version sticks
fairly closely to the original material.
The notes suggest a comparison with
Liszt; I find more differences than
similarities. In terms of "Porgy
and Bess", I suggest that Earl
Wild’s transcriptions and elaborations
are much nearer to the grand and fantastical
manner of Liszt. No matter; Grainger’s
version is dramatic and involving, especially
as splendidly played here by Nettle
and Markham, every number a gem.
Another winner!
Roger Blackburn
David Nettle and Richard Markham (pianos) 
