Pyotr Il’yich TCHAIKOVSKY (1840-1893)
Rare Transcriptions and Paraphrases
Marche slave, Op 31 (arr. Hanke) [11:06]
Potpourri on Themes from The Voyevoda (arr. Tchaikovsky) [13:51]
Theme and Variations from Orchestral Suite No 3 (arr. Lippold and Goldstone) [19:04]
Serenade for Strings, Op 48 (arr. Lippold and Goldstone) [29:00]
Anthony Goldstone ( piano)
rec. 2012, St John the Baptist Church, Alkborough, North Lincolnshire, England
DIVINE ART DDA25093 [63:12]
Anthony Goldstone is proving increasingly fearless in his examination of the transcriptive arts either alone, as here, or with his wife Caroline Clemmow. This latest venture concentrates on Tchaikovsky and is the first volume devoted to orchestral and operatic music. One was transcribed by Tchaikovsky himself, though he hid behind the academically plausible pseudonym ‘H. Cramer’ - it has a historic ring to it. The others were the work of a variety of transcribers, amongst them Anthony Goldstone.
The Marche slave is the work of Herbert Hanke, and is heard here in its first ever recording. If you think you’ll miss the brash, self-confident colour of the nationalistic orchestral version, you’ll find compensation via the commanding panache Goldstone presents. The various Serbian melodies are brought out splendidly and the martial/Tsarist climax is genuinely exciting in this performance. The Potpourri on themes from the opera The Voyevoda is the work of Cramer (Tchaikovsky), and this has been recorded before. Still, when there’s so much rich chording, drama and mobile left hand to be heard, no one should easily pass up the chance to hear Goldstone’s insouciant virtuosity.
Max Lippold and Goldstone transcribed the Theme and Variations from the Orchestral Suite No.3 in G major - an orchestral favourite. It would be more accurate to say that Lippold did the historic groundwork, though exactly when is not quite clear - Lippold seems to have died in the 1930s - and Goldstone has amended aspects of Lippold’s work. Whether forthright or droll, this is a splendidly assured performance. One of the highlights is the naughty fugato, which in a piano transcription can be enjoyed in all its naked wit. Galumphing or religiose, galvanic or dancing, reposeful or resplendent, Goldstone brings out the work’s richly characterful qualities with great facility and communicative spirit. He ends with another transcription courtesy of Lippold, the Serenade in C major. Both this and the Theme and Variations are première recordings, and the Serenade is notable for the cultured and cultivated tonal qualities Goldstone brings. That and playfulness too, conjured with a sense of breadth and tonal imagination, and warm phrasing.
These qualities are reinforced by the excellent recording, and good notes. Ballets next, and that should be fun.
A sense of breadth and tonal imagination, and warm phrasing.
see also review by Brian Reinhart