MusicWeb International reviews more classical CDs and DVD than any other site

53,656 reviews
and more.. and still writing ...




selling Internationaly

Founder: Len Mullenger             Editor in Chief: John Quinn               Contact Seen and Heard here

Some items
to consider

£11 post-free anywhere
Normal service resumed


100th birthday of Mieczyslaw Weinberg on December 8, 2019.
Renate Eggbrecht has recorded all 3 violin Sonatas


Recordings of the Month


Beethoven String Quartets

Produzioni Armoniche

Seven Symphonic Poems

Shostakovich VC1 Baiba Skride
Tchaikovsky Symph 5 Nelsons

Vivaldi Violin Concertos



Beethoven Piano Concertos

Stradal Transcriptions

LOSY Note d’oro

Scarlatti Sonatas Vol 2

Plain text for smartphones & printers

Advertising on

Donate and keep us afloat


New Releases

Naxos Classical

Click to see New Releases
Get 10% off using code musicweb10

Nimbus Podcast

Obtain 10% discount

Special offer 50% off
15CDs £83 incl. postage

Musicweb sells the following labels

Altus 10% off
Atoll 10% off
CRD 10% off
Hallé 10% off
Lyrita 10% off
Nimbus 10% off
Nimbus Alliance
Prima voce 10% off
Red Priest 10% off
Retrospective 10% off
Saydisc 10% off
Sterling 10% off

Follow us on Twitter

Subscribe to our free weekly review listing

Sample: See what you will get

Editorial Board
MusicWeb International
Founding Editor
Rob Barnett
Editor in Chief
John Quinn
Seen & Heard
Editor Emeritus
   Bill Kenny
MusicWeb Webmaster
   David Barker
Jonathan Woolf
MusicWeb Founder
   Len Mullenger


Support us financially by purchasing
this disc through MusicWeb
for £12 postage paid world-wide.

Hans von BÜLOW (1830-1884)
Piano Music - Volume 2
Mazurka-Fantaisie, Op. 13 (1860) [9:47]
Elfenjagd (Impromptu), Op. 14 (1860) [6:51]
Mazurka-Impromptu, Op. 4 (1855) [6:02]
Invitation à la Polka (1855) [6:49]
Chant polonais (alla Mazurka), Op. 12 (1860) [5:39]
Trois Valses caractéristiques, Op. 18 (1865) [17:50]
Königsmarsch, Op. 28 (1880) [8:16]
Mark Anderson (piano)
rec. Wyastone Leys, Monmouth, 17-18 October 2012
NIMBUS NI5907 [61:16]

Volume One was reviewed on this site by both Jonathan Woolf and myself, positively in both cases. The reviews were published February/March 2012, and so it is that 18 months later the second instalment reaches the light of day. It happily expands the catalogue with pieces of splendid finish and invention in performances, once again, of great panache.
The first piece, Mazurka-Fantaisie (Breslau, 1860) is fascinating, and arguably the finest piece on the disc. Its initial exploratory nature - the opening is surprisingly modern - that falls into a more reassuring waltz before becoming more disjunct again, is most refreshing. Some passages might tend towards kitsch in lesser hands, but Anderson is very attuned to the composer's mode of expression and presents the whole as a piece of integrity. If the Mazurka-Fantaisie includes challenging elements for the listener, Elfenlied, as the name implies, is perhaps predictably more Mendelssohn-inspired. It is, texturally speaking, wonderfully interesting, and there is a detectable debt to the Liszt of Gnomenreigen though it’s not an overly strong flavour. Anderson's playing is wonderfully gentle, either in the scurrying sections or in the contrasting passages.
Complementing the Mazurka-Fantaisie is a Mazurka-Impromptu, sharing the same composition date and place (Breslau) with the ensuing Invitation à la Polka. The former is teasing and capricious, with Anderson finding much to raise a smile from the listener. The latter boasts a more variegated surface before rising to properly virtuoso writing, effortlessly despatched here.
The Chant Polonais (alla Mazurka)is actually a transcription of Truhn's “Der letzte Pole”. Composed in Hamburg in 1860, over the space of a mere 5:39 the piece covers a wide terrain, from Schumannesque interiorisation through to more burnished Brahmsian writing. The end is positively outrageous.
The three Valses-caractéristiques each have their own title: “L'Ingénu”, “Jaloux” and “Glorieux”. The title is given correctly in the booklet (“Valses”) but as “Trois Valse characteristique” on the back of the jewel case and the track-listing of the booklet. A Leipzig composition from 1865, this seems to represent some of the composer's most assured writing. Anderson offers gorgeous, teasing playing in both the first two; the final effort, “Glorieux”, is more restrained than its title implies.
Finally, we reach the 1880 Königsmarsch, composed in Munich. It provides pretty much what it says on the tin. There is a real regality about it all but there are also meltingly beautiful, yet still noble, contrasts.
The recording is exemplary, full yet clear.
Colin Clarke

Previous review: Paul Corfield Godfrey