Eileen Joyce - The Complete Parlophone and Columbia Solo Recordings 1933-1945
Eileen Joyce (piano)
Track-listing at end of review
APR 7502 [5 CDs: 78:28 + 76:41 + 69:07 + 69:46 + 73:59]
When Eileen Joyce (1908-1991) bade her farewell to the concert platform
in 1960 I was still in short trousers. Her once very high reputation had dwindled
rapidly – in spite of a very few post-retirement appearances – with the result
that by the time I immersed myself in the musical world in the later 1960s she
was just a name one occasionally heard mentioned, not always very respectfully.
She was a “popular pianist”, she played Rachmaninov 2 for the soundtrack of
“Brief Encounter”, ’nuff said….
The well-known critic Bryce Morrison relates in the memoir accompanying this issue how the first piano recital he attended was by Joyce. Later he befriended her in her retirement and produced the Testament release “The Art of Eileen Joyce”. This led to a reassessment of her reputation, paving the way for the present release.
The 5 CDs in the APR box contain her complete solo – plus one orchestral – recordings for Parlophone (1933-1940) and British Columbia (1940-1943). They are transferred by Mark Obert-Thorn. As is his wont, the results are convincingly truthful – surface noise is allowed to remain, but not obtrusively, and the rounded, musical, singing sound common to both series is surely Joyce’s own. The box comes as part of a series investigating the pupils of the legendary British teacher Tobias Matthay. Particular attention will be given to the group of woman pianists who emerged from his school. APR will subsequently be examining Harriet Cohen, Myra Hess, Irene Scharrer and Moura Lympany. As a pendant, they might also take a look at Nina Milkina, fundamentally a pupil of Harold Craxton – himself a Matthay pupil – but one who also went sometimes to play for “Uncle Tobs”.
In view of the Matthay connection, and without denying the value of Morrison’s personal reflections, I think it a pity that space was not found to analyze the influence of Matthay’s teaching on Joyce’s art, how she relates to or differs from other Matthay pupils and so on. Including any personal recollections she may have set down. Did she never speak to Bryce Morrison about Matthay? I also think space might have been found for some sort of examination of the recording sessions themselves. Was she nervous or calm before the microphones, did she just walk in and play or were there many rejected takes? These are some of the questions that come to mind. Also, whether the choice of some quite rare items – the Mozart Allemande and Courante, the Schubert Andante, the three Schumann pieces – was hers or whether Parlophone specifically wanted something off the beaten track.
The Parlophone and Columbia recordings are presented as separate groups, but within each series the decision has been made to opt for some sort of listener-friendly, roughly chronological-geographical sequence rather than the strict order in which they were set down. More purist collectors might have preferred this latter and I did wonder whether any sort of musical/spiritual development on the part of the pianist would have emerged by listening to them in this manner. Such a development does appear to exist between the two sequences, though this is maybe clouded by the fact that Columbia recorded her in several relatively sustained works whereas the Parlophone discs are almost entirely dedicated to brief pieces. In my contents listing below I have rearranged the recordings according to the session dates, indicating after each the CD and track in which it appears. One fact that emerged by doing this is that, while certain sessions were quite gruelling, in view of the complexity of the music, for example the D’Albert Scherzo, 3 Rachmaninov Preludes and the Shostakovich Fantastic Dances all on 3 November 1938, it is often more remarkable how little music emerged from some of the sessions. On 3 November 1941, for instance, she went in the studio solely to set down the A flat Romance attributed to Mozart. Or was there other material that she did not pass for issue?
The booklet gives full details of recording dates, record numbers and matrices. In discussing the performances, I shall follow the order in which they are placed on the CDs.
The first CD takes us chronologically from the small amount of baroque and classical material to the earlier romantics.
The Bach Fantasia and Fugue in A minor has a romantically coloured Fantasia, with a wide dynamic range. The Fugue proceeds with a coursing energy. There is plenty of pedal, yet the lines remain clear.
The Paradies Toccata creates an edifice of swirling sound. With lots of hairpin dynamics it sounds exciting but nervy to today’s ears.
While Joyce’s baroque is convincing in its joyfully inauthentic terms – so how interesting to learn that she took up harpsichord playing in the 1950s – her Mozart here raises more ambivalent reactions. The Mozart performances on CD 5 alter this view, however.
Some soupy orchestral Mozart was set down in London in the 1930s but Clarence Raybould’s little band is crisp and buoyant. Hardly HIP but this would have passed for good style at least up to the 1970s. Joyce mainly goes along with it, with excellent phrasing of the main theme, but at times seems to be attempting to lead the ship into more romantic waters.
Mozart’s unfinished Handelian pastiche-suite was certainly unusual fare. Joyce provides limpid part-playing, unashamed dynamic contrasts and some romantic excesses where the Courante becomes chromatic. But this is generally free-flowing and enjoyable.
Joyce certainly doesn’t condescend the “easy” C major sonata, giving it a full clutch of repeats. The first movement is swift but beautifully even and calm, except at certain forte cadences where a degree of impetuousness intrudes. The slow movement is fairly swift, but the left hand Alberti bass is a little too present and Joyce makes some heavy-handed rallentandos here and there. In particular, the E minor chord at bar 6 and similar points is emphasised with a big slowing that gets more irritating every time – and it happens six times with all the repeats. The finale is deliberate, rather chunky and over-emphatic. But at least it is not Dresden china.
The Schubert Andante in A was another enterprising choice. Unfortunately the performance is heavy-handed. Assuaging Schubertian grace is hinted at in the second theme but soon lost again. The E flat Impromptu is marvellously fluent, and that also includes the placing of the accents. The tempo is more presto than allegro but it achieves a certain grace even so. The A flat Impromptu has a good tempo. The semiquavers are beautifully done but the intervening chords are a little heavy. Overall it lacks the typical Schubertian poise between innocence and tragedy. The middle section is passionate but the chords chug a bit.
The Chopin E flat Nocturne is generally beautifully tender. Only a few overdone expressive lunges spoil the mood. The B major Nocturne, on the other hand, is mauled unmercifully from the word go. It is hard to believe that the same artist can produce such beautiful treatment of the “pianissimo delicatissimo” passages and then give us such a brutal “forte stretto” and such skittish triplets in the second theme. The Fantaisie-Impromptu has marvellous impetus in the outer sections and the middle section is warmly done. The Berceuse is very nicely handled, again warm if a little plain.
All three Schumann pieces were rarities. Unfortunately, if these records were people’s introduction to them, they probably did more harm than good. Novelette no. 2 is more violent than impetuous, no. 6 more snatched-at than humorous. Softer dynamics are ridden over, melodic lines are confused, even in the quieter middle section of no. 2. The music is often reduced to angry barn-storming. Under the circumstances the cut in no. 2 is a relief. The opening of the Bunte Blätter piece promises better but it soon becomes unsettled, Schumann’s intimate thoughts blazoned over the public address system. A most unpleasant experience.
The second CD is taken up with Liszt – original and hyphenated – and Brahms.
Liszt would seem a likely vehicle for Joyce’s strengths, and on the whole, so it proves. The Liebestraum starts and ends rather slowly, but not stickily or sentimentally. Joyce makes more contrast than most pianists in the central part, which she moves on passionately. Waldesrauschen concentrates on passionate surge rather than woodland magic and the Valse oubliée is more ardent than elegant but these performances can certainly be enjoyed. More problematic is Au bord d’une source, which is very heavy-handed. No problems at all with La leggierezza and Gnomenreigen which are quite simply fantastic, musically and digitally.
The Bach-Liszt A minor Prelude and Fugue reinforces the impression of Joyce as a fine purveyor of unauthentic Bach. It is a glorious edifice of swirling sound, built up on the grandest scale. Alas, the Schumann-Liszt song arrangements are a brutally uncomprehending rampage, the only saving grace being the consideration that Liszt may be partly to blame too. The Wagner-Liszt Flying Dutchman Spinning Chorus is skittish and impatient. It was a relief to compare it with Paderewski’s 1924 version which has all the sense of patient weaving we expect when this moment comes up in the opera. The Gounod-Liszt Faust Waltz, though, suits Joyce down to the ground and has a wonderful verve.
Joyce’s Brahms, if uneven, makes a better impression than her Schumann. The outer sections of op.118/5 are heavy-handed but the middle section is very nicely spun. In op.119/3 Brahms’s marking “graceful and playful” is roughed up into something rather aggressive. The stormy op. 119/7 suits her better, but fussy rubato impedes the flow of the middle section and the failure of the rhythmic imitation between the hands to register at the beginning testifies to a superficial approach. Op. 119/4 begins and ends with a desperate impetus, impressive in its way. At the triplet motif the music slows to a tempo that would have been rather good all through and a certain majesty is achieved. The middle section is very nicely turned. Over the top but inspiriting.
Op. 117/2 is unreservedly exquisite, beautifully textured, sensitive and poised between ardour and tragedy. Op. 118/2 can seem cruelly long if taken too slowly, but Joyce lets it flow a degree too freely, with a few onward spurts of tempo. At least heaviness is avoided. Op. 118/3 is extremely subtle in its understanding of the ambiguity between drive and doubt, ardour and dejection. How strange that one could, with careful selection, make out Joyce as one of the finest Brahms interpreters. And, with deliberately malicious selection, present her as extraneous to the composer’s world.
The third CD opens with a sequence of the sort of pieces that used to turn up regularly in virtuoso pianists’ programmes, often as encores, but have today pretty well disappeared from view. Joyce is clearly at her best in this sort of thing. The Hummel Rondo is cheeky and infectious in its over-the-top virtuosity, Henselt’s Si oiseau j’étais has a lazy grace, Paul de Schlöser’s A flat étude has virtuoso allure and the Moszkowski Waltz has elegance and a teasing rubato. The same composer’s Caprice espagnole is a phenomenal display, uproariously camp.
This latter ushers in a short Spanish group. The smoochy Albeniz-Godowsky Tango should have you swaying in your seat while the yearning of Granados’s Maiden is expressed in free but natural rubato.
A Scandinavian sequence opens with Sinding’s once-ubiquitous “Rustle of Spring”. Brisk and energetic, this is spring with a full monsoon behind it.
Joyce was famous for her performance of the Grieg Piano Concerto – nay, for her thousands of performances of it – and the Grieg group mostly shows her sympathy with the composer. The Scherzo-Impromptu is tossed off impishly while the Butterfly has an elegant grace. The A minor Melody is sensitive to the harmonic twists but basically too fast. Yet in the Solitary Traveller Joyce evokes the bare, brooding wastes with the greatest sensitivity. The Brooklet is sparklingly capricious but To the Spring, while effective, exchanges seasoned ardour for vernal rapture. Summer’s Eve opens beautifully but loses its simplicity later.
The Sibelius Romance in D flat is overheated at times – it is at its best when at its simplest. The Stavenhagen Menuetto Scherzando is delightfully humorous while Palmgren’s En Route has an infectious rhythm.
Not quite belonging to this sequence, the Friedman/Gärtner Viennese Dance is great fun with some teasing, schmaltzy rubato.
This CD ends with three French pieces. The Fauré Second Impromptu is almighty fast yet even and elegant. The more lyrical moments are beautifully expressed and the end is magical. Debussy’s Reflets dans l’eau is unusually swift but the sound is iridescent and the effect is more hedonistic than overdriven. In the Toccata Joyce eschews the neo-classical approach often applied and gives a performance that is exuberant, exultant and elemental. Remembering that I have a box of Gieseking Debussy reissues to review I made the comparison. Incredibly, the great man actually seemed rather glum beside the freer-flowing Joyce.
At this point it is becoming clear that Joyce was a free spirit, not – at least at this point in her career – a stylist, still less a musicologist, but one who took every piece she played to herself and poured it out as she felt it, demanding to be taken on her own terms. If we compare her Hummel Rondo with that of Benno Moiseiwitsch, not exactly a hide-bound spirit, the latter seems more conscious of Hummel as a classicist, with roots in the world of Mozart. Should I now go back to the earlier discs and listen again, in this new light, to the performances that troubled me? Maybe I would hear some of them differently. But my doubts are the legitimate doubts anyone might have who is looking for the composer rather than the performer, so I shall let my comments stand as part of my personal voyage of discovery into the world of Eileen Joyce.
The fourth CD has the conclusion of the Parlophone sequence and the beginning of the Columbias. The remaining Parlophone recordings are of composers who, while not exactly avant-garde – no Schoenberg or Stravinsky – were contemporaries in the sense that they were still living or only recently dead when the records were made.
Rachmaninov 2 was another of Joyce’s famous interpretations. Curiously, she studied the Third Concerto but didn’t like it and never performed it. The group of Rachmaninov Preludes is one of the highlights of the set. The G minor is a threatening cavalcade in the outer sections, with wonderfully limpid phrasing and voicing in the central section. The E flat is all heartfelt warmth and tugging emotion, again with perfect voicing. The C minor is a fountainhead of swirling notes and generous emotions while the A flat is all surging passion. The A minor fills the air with pealing bells and the mighty D flat is held on course with nerve-racking aplomb. Concerning these latter two, I would make one observation, though. They are from op. 32 while the others are from op. 23 and it seems to me that in the space of time between the sets Rachmaninov was slightly changing his goal posts. I miss, in these two, the sort of droll irony the composer himself tended to bring to his own performances and which Joyce’s purely emotional response lacks.
D’Albert’s Scherzo goes with joyous verve, the Strauss-Gieseking song arrangement is somewhat restless but the Dohnanyi Rhapsody has splendid dash. Whoever Stefan Bergman was, he provides a sparkling little Polka Caprice and a schmaltzy, even bluesy, Himmelgesang.
Joyce seems a bit impatient with Cyril Scott’s Lotus Land, losing its sultry decadence, and Danse Nègre is so fast it risks becoming a gabble. It has to be said that Scott set down similar performances himself in 1928, with the difference that his pianism was no longer in good shape – if it ever was – and the results are messy. So it may be that Joyce knew these recordings, took them as evidence of the composer’s intentions and simply saw it as her business to realize those intentions with superior pianism, which she certainly did. I must say I have yet to hear a pianist who can get the atmosphere out of Lotus Land that Kreisler obtained in his transcription for violin and piano.
Riccardo Pick-Mangiagalli’s Le Danse d’Olaf makes a confused effect. Go to Sari Biro’s crystalline brilliance to discover that this is actually rather a good piece.
There are a number of curious features to the Harry Farjeon Tarantella. Farjeon had been steadily publishing albums of piano pieces since the early years of the 20th century, often highly attractive pieces aimed at the upper end of the amateur market, rather in the tradition of MacDowell. By the 1930s he sometimes showed an inclination towards mild modernism, but here he embraces it. The pieces sounds a natural companion to the Shostakovich Dances that follow. He also casts aside his amateur-oriented pianistic style to write music tailor-made for Joyce’s virtuosity. No published piece appears to be entitled Tarantella and the implication is that he wrote it for Joyce and was happy for her to keep it as “hers”. The other curiosity is that it doesn’t sound like a Tarantella at all. I kept expecting the typical running 6/8 rhythm to start up but it never did. Fascinating.
The Shostakovich Fantastic Dances are less challenging, but Joyce does them with plenty of humour and atmosphere. These end the Parlophone sequence.
The British Columbias begin with a few pieces that follow on logically from what has just been heard. The Ravel Jeux d’eau is ravishing, more soft-edged than we often hear but glistening, iridescent. Her two Scriabin Preludes are very personalized but penetrate the composer’s introversion punctuated with occasional stabbing outbursts.
Working back chronologically, the Mendelssohn Rondo Capriccioso has a flexible, singing introduction and a bubbling, vivacious rondo proper which finds maximum variety in the music. As far as anything can be, this sounds like a definitive interpretation.
Rather to my surprise, Joyce is classically restrained in the Beethoven Bagatelle op.33/2, underplaying the humorous dynamic contrasts. But her Fur Elise is a miracle of simplicity, full of the freshness and tenderness of first love. I don’t think I’ve ever enjoyed this piece so much.
The last CD allows us to hear Joyce in slightly more extended works. The beginning of Mozart’s Sonata K.332 is perfect and there is much in the first movement that is absolutely lovely, limpid and unforced. But the right hand rhythm is not clear in the first forte passage and she is sometimes skittish. The second movement is more andante than adagio but beautifully shaped apart from a couple of exaggerated rallentandos. A curiosity is that in bar 19 and in the similar passage a bar before the end the semiquavers are played as demi-semiquavers, so the metre changes from 4/4 to 6/8. Had she no best friend to point out her mistake? Or is there an edition somewhere that prints it like that? The highlight of this performance is the finale, taken at a speed that really has it spinning. Life-enhancing.
No such small reservations with K.576, which is a treasure from beginning to end. The tempi are swift and buoyant – the triplets in the finale truly take off – and there are no lunges into a more dramatic style.
The three smaller pieces are beautifully handled. Joyce makes out a case for the doubtfully attributed Romance in A flat as being finer than several of the shorter pieces Mozart really did write. She relishes, without exaggeration, the oddities of the Gigue in G and the proto-romantic chromaticism of the Minuet in D.
Moving to Chopin, the Study op.10/3 is well handled, but the Ballades are simply magnificent, up there with the best. Always warm and well-shaped, they are very complete in their understanding of where the music is going, always convincing in their rubato.
And to conclude, Grieg’s potentially overlong Ballade treated with a wealth of colour and poetry.
I wondered, during the first two discs, whether a careful selection of Joyce’s recordings would not have stated her case more strongly. But there is so little in CDs 3-5 that I would want to jettison. Also, some of the performances I disliked are singled out for praise by Bryce Morrison, while some that he counts among her “rare failures” are ones I would want to keep. So I doubt if any real consensus could exist over what to include on a single or double CD selection. Better, then, that it should be all there to be wondered at, pondered over and, occasionally, rejected. It should leave no doubt that Eileen Joyce was a major figure.
Lastly, for all her delight in the virtuoso encore pieces loved by pianists of yore, Joyce was, or gradually became, a relatively “modern” pianist. Certainly, her Mozart K.576 stands closer in manner to Lipatti’s A minor Sonata than to Rachmaninov’s curious take on the A major.
Following her Columbia phase, Joyce moved to Decca, setting down the Franck Variations with Charles Munch in Paris among other things, and I think recorded for some smaller labels in her last years before retirement. So perhaps there’s more to come?
Contrary to usual MusicWeb International practice, it has been thought useful
to set out the tracks in order of recording, rather than the order in which
they appear on the CDs. Therefore the date appears first, in the order of year,
month (in Roman numerals), day. After the composer and composition details,
the timing is followed, in square brackets, by the number of the CD, in Roman
numerals, and the track number.
Franz LISZT (1811-1886): La leggierezza [4:17, II:5]
Paul de SCHLÖZER (c.1841-1898): Etude in A flat op.1/2 [3:19, III:3]
Claude DEBUSSY (1862-1918): Toccata (from Pour le Piano) [4:04, III:22]
Moritz MOSZKOWSKI (1854-1925): Waltz in E op.34/1 [4:08, III:4]
Adolph von HENSELT (1814-1889): Si oiseau j’étais op.2/6 [2:34, III:2]
Selim PALMGREN (1878-1914): En route op.9 [1:10, III:18]
Riccardo PICK-MANGIAGALLI (1882-1949): Le Danse d’Olaf op.33/2 [3:30, IV:14]
GOUNOD-LISZT: Faust Waltz (abridged) [4:11, II:11]
Sergei RACHMANINOV (1873-1943): Prelude in G minor op.23/5 [3:48, IV:1]
LISZT: Gnomenreigen [2:46, II:6]
Richard STRAUSS (1864-1949) arr. Walter GIESEKING (1895-1956): Ständchen op.17/2 [3:02, IV:8]
Johannes BRAHMS (1833-1897): Intermezzo in A op.76/6 [4:44, II:15], Rhapsody in E flat op.119/4 [4:19, II:16]
Johann Nepomuk HUMMEL (1778-1837): Rondo in E flat op.11 [4:19, III:1]
LISZT: Waldesrauschen [4:16, II:2]
DEBUSSY: Reflets dans l’eau [4:01, III:21]
BRAHMS: Intermezzo in C op.119/3 [1:21, II:13], Capriccio in D minor op.116/7 [2:43, II:14]
BRAHMS: Intermezzo in A op.118/2 [4:43, II:18], Ballade in G minor op.118/3 [3:58, II:19]
Wolfgang Amadeus MOZART (1756-1791): Rondo in A K.386 (with Orch/Clarence Raybould) [7:29, I:3]
BACH-LISZT: Prelude and Fugue in A minor BWV543 [8:20, II:7]
Ignaz FRIEDMAN (1882-1948) after Eduard GÄRTNER (1862-1918): Viennese Dance no.2 [3:26, III:19]
SCHUMANN-LISZT: Widmung [3:28, II:8]
Enrique GRANADOS (1867-1916): The Maiden and the Nightingale [4:44, III:7]
Bernhard STAVENHAGEN (1862-1914): Menuetto scherzando op.5/3 [3:27, III:17]
MOSZKOWSKI: Caprice espagnole op.37 (abridged) [4:43, III:5
Robert SCHUMANN (1810-1856): Novelette in D op.21/2 [4:37, I:16]
Cyril SCOTT (1879-1970): Lotus Land op.47/1 [2:58, IV:12], Danse nègre op.58/5 [1:31, IV:13]
Harry FARJEON (1878-1948): Tarantella [3:44, IV:15]
SCHUMANN-LISZT: Frühlingsnacht [3:03, II:9]
BRAHMS: Romance in F op.118/5 [4:05, II:12]
LISZT: Au bord d’une source [4:15, II:4]
Ernö DOHNANYI (1877-1960): Rhapsody in C op.11/3 [4:39, IV:9
RACHMANINOV: Prelude in E flat op.23/6 [2:17, IV:2], Prelude in C minor op.23/7 [2:08, III:3]
Johann Sebastian BACH (1685-1750): Fantasia and Fugue in A minor BWV944 [5:27, I:1]
Domenico PARADIES (1707-1791): Toccata in A [2:36, I:2]
Stefan BERGMAN (?1901-?): Polka Caprice op.1/3 [2:56, IV:10], Himmelgesang op.2/1 [1:44, IV:11]
SCHUMANN: Stücklein 1 (Bunte Blätter op.99/1) [1:29, I:18]
Gabriel FAURÉ (1845-1924): Impromptu no.2 in F minor op.31 [4:21, III:20]
LISZT: Liebestraum no.3 [4:40, II.1]
Eugen d’ALBERT (1864-1932): Scherzo in F sharp op.16/2 [3:54, IV:7]
RACHMANINOV: Prelude in A flat op.23/8 [2:56, IV:4], Prelude in A minor op.32/8 [1:39, IV:5], Prelude in D flat op.32/13 [4:29, IV:6]
Dmitri SHOSTAKOVICH (1906-1975): 3 Fantastic Dances op.5 [3:51, IV:16]
Franz SCHUBERT (1797-1828): Andante in A D.604 [4:58, I:9], Impromptu in E flat D.899/2 [4:09, I:10]
BRAHMS: Intermezzo in B flat minor op.117/2 [4:24, II:17]
Edvard GRIEG (1843-1907): Butterfly op.43/1 [1:42, III:10], Melody op.47/3 [2:49, III:11], Solitary Traveller op. 43/2 [2:20, III:12], Brooklet op.62/4 [1:37, III:13]
WAGNER-LISZT: Spinning Chorus [4:30, II:10]
MOZART: Suite K399: Allemande [1:54, I:4], Courante [2:18, I:5]
SCHUMANN: Novelette in A op.21/6 [4:37, I:17]
GRIEG: Scherzo-Impromptu op.73/2 [2:21, III:9], To the Spring op.43/6 [2:10, III:14], Summer’s Eve [2:24, III:15]
Jean SIBELIUS (1865-1957): Romance in D flat op.24/9 [3:46, III:16]
Christian SINDING (1856-1941): Rustle of Spring op.32/3 [2:25, III:8]
Isaac ALBENIZ (1860-1909)-Leopold GODOWSKY (1870-1938): Tango op.165/2 [3:24, III:6]
Frédéric CHOPIN (1810-1849): Fantaisie-Impromptu op.66 [4:33, I:14], Berceuse op.57 [4:20, I:15]
LISZT: Valse oubliée no.1 [2:37, II:3]
SCHUBERT: Impromptu in A flat D.899/4 [7:34, I:11]
CHOPIN: Nocturne in E flat op.9/2 [4:42, I:12], Nocturne in B op.32/1 [4:30, I:13]
MOZART: Sonata in C K545 [13:03, I:6-8]
BRITISH COLUMBIA 78s
CHOPIN: Ballade no.3 in A flat op.47 [7:35, V:12]
Ludwig van BEETHOVEN (1770-1827): Bagatelle in C op.33/2 [3:18, IV.21], Für Elise [3:17, IV:22]
Maurice RAVEL (1875-1937): Jeux d’eau [4:30, IV:17]
CHOPIN: Etude in E op.10/3 [4:07, V:10]
MOZART: Sonata in D K.576 [14:02, V:4-6]
MOZART: Sonata in F K.332 [13:52, V:1-3]]
MOZART: Romance in A flat (attrib) KA205 [3:57, V:7]
MOZART: Gigue in G K.574 [1:30, V:8], Minuet in D K.355 [2:16, V:2:16]
Alexander SCRIABIN (1872-1915): Prelude in E op.11/9 [1:44, IV:18], Prelude in C sharp minor op.11/10 [1:36, IV:19]
CHOPIN: Ballade no.1 in G minor op.23 [9:24, V:11]
GRIEG: Ballade in G minor op.24 [17:14, V:13]
Felix MENDELSSOHN (1809-1847): Rondo capriccioso op.14 [6:15, IV:20]
Should leave no doubt that Eileen Joyce was a major figure. Performances to be wondered at, pondered over and, occasionally, rejected.