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A Night
at the Opera
LISZT
Concert Paraphrase on Verdi's Rigoletto;
Reminiscences of Bellini's Norma
GLUCK,
arr. SGAMBATI
Mélodie from Dance
of the Blessed Spirits (Orfeo ed
Euridice)
CHOPIN Variations,
op. 2, on 'La ci darem la mano' from
Mozart's Don Giovanni
RIMSKY-KORSAKOV,
arr. RACHMANINOV
The Bumble Bee, from Tsar
Saltan
GRAINGER
Ramble on the last love duet in Der
Rosenkavalier
BUSONI
Chamber Fantasy on Bizet's Carmen
WAGNER,
arr. LISZT
Isoldes Liebestod, from Tristan
und Isolde
MENDELSSOHN
Fantasy on 'The Last Rose of Summer'
GRÜNFELD
Soirée de Vienne, op.
56 - Concert Paraphrase on Waltz Motifs
from Die Fledermaus
Anthony Goldstone (piano)
St John The Baptist Church, Alkborough North
Lincs, 2008; 2005 (Busoni).
DIVINE ART DDA25067 [79.27] |
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There has been
a steady flow of Divine Arts CDs
from Anthony Goldstone often partnered
by Caroline Clemmow. This is the
latest and here he appears solo.
In splendidly assertive
sound there is no mistaking the
grand manner. It's a mantle that
Goldstone assumes with an aristocratic
flourish. Those two words apply
resoundingly to the superbly paced
Rigoletto paraphrase. Sgambati and
Goldstone seem to conspire in the
gentle fragility of the Mélodie
from Gluck Blessed Spirits.
The bejewelled Chopin-Mozart variations
may well be familiar from the version
with orchestra but here it shines
in poised finery. Rachmaninov and
Rimsky provide an excuse for Goldstone
to set the Bumble Bee skimming
irately along at breakneck speed.
Grainger's Strauss Ramble is
a delightfully complex skein of
sentimentality, grandiloquence and
those so-familiar silver-dripping
notes. Back to Liszt for yet more
panache in the Grand Fantasie
- Norma Reminiscences. Busoni
is a much more serious proposition
in the Carmen Chamber Fantasy
in which the work's pianola-like
mechanistics combine irresistibly
with the vaguest hint of a smile.
Along the way Goldstone delivers
some superbly judged shadowy-misty
textures - a miracle pulled off
with consummate and evidently natural
skill. Liszt's Liebestod transcription
seems thicker and less successful
to me until the grand-statement
of the love theme at 4.10. More
successful is Mendelssohn's Fantasy
on The Last Rose of Summer.
This is suitably sentimental with
its Celtic skirl and light melancholy.
A fond farewell is bid with Alfred
Grünfeld's Soirée
de Vienne in which play is made
with waltz motifs from Fledermaus
and other concert dances by
the Royal family of the waltz.
The package is
completed with a sure-footed essay
from Goldstone. Thankfully this
is not short on specifics. The effect
is completed with de luxe production
values for the whole package.
Rob Barnett
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