MusicWeb International One of the most grown-up review sites around

2021
56,451 reviews
and more.. and still writing ...

Search MusicWeb Here

     
  
 







Acte Prealable Polish CDs

Presto Music CD retailer

International mailing


 
Founder: Len Mullenger                                    Editor in Chief:John Quinn             

Some items
to consider

 

paid for
advertisements

Acte Prealable Polish recordings

Forgotten Recordings
Forgotten Recordings
All Forgotten Records Reviews


TROUBADISC
Troubadisc Weinberg- TROCD01450

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


FOGHORN Classics

Alexandra-Quartet
Brahms String Quartets

All Foghorn Reviews

Jonny-Bradley-handmade-knives
Johnny Bradley
Handmade Kitchen Knives

 


 


Follow us on Twitter

Subscribe to our free weekly review listing
sample

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
Postmaster
Jonathan Woolf
MusicWeb Founder
   Len Mullenger

 

Discs for review may be sent to:
Jonathan Woolf
76 Lushes Road
Loughton
Essex IG10 3QB
United Kingdom

jonathan_woolf@yahoo.co.uk


 

REVIEW
Plain text for smartphones & printers


Advertising on
Musicweb


Donate and keep us afloat

 

New Releases

Naxos Classical
All Naxos reviews

Chandos recordings
All Chandos reviews

Hyperion recordings
All Hyperion reviews

Foghorn recordings
All Foghorn reviews

Troubadisc recordings
All Troubadisc reviews

Divine Art recordings
Click to see New Releases
Get 10% off using code musicweb10
All Divine Art reviews

Eloquence recordings
All Eloquence reviews

Lyrita recordings
All Lyrita Reviews

 

Wyastone New Releases
Obtain 10% discount

Recordings of the Month

December
(short month)


Orphic Moments


Metamorphoses Books I & II

November


Donizetti - Le Convenienze ed Inconvenienze Teatrali


Chamber Symphonies 2 & 4


French Cello Concertos

 

October


Shostakovich

 

 

Availability
Fryderyk CHOPIN (1810-1849)
Etudes, Op. 10 (1829-32) [31:15]
Etudes, Op. 25 (1832-36) [34:51]
Nouvelles Etudes [6:52]
Fantaisie-Impromptu, Op.66 [4:29]
Robert Goldsand (piano)
rec. 1950s
FORGOTTEN RECORDS FR719 [76:01]

Robert Goldsand’s name carries a charge for pianophiles. Born in Vienna in 1911 he studied with Sauer and Rosenthal, making his debut in 1921. His US debut came six years later. He left his native city to escape the Nazis, settling in America in 1939 and a decade later the Chopin Centennial Committee invited him to give a complete Chopin cycle. In 1951 he joined the Manhattan School of Music, teaching until 1990, the year before his death.
 
That’s something less even than a shilling life, but it’s enough to suggest technical precocity, early travel, elite teachers, a specialism or at least excellence in a particular composer, and a lasting gift for pedagogy. These gifts were crystallised in Goldsand’s Chopin recordings of the 1950s. The performance of the Etudes contain some of the most engaging, and imaginatively interesting Chopin playing of the time. The Op.10 Etudes, once past a slightly choppy opening, sport charm and lyricism in equal measure. The playing (Op.10 No.3) is pliant, suggestive, even occasionally limpid, possessed of outstanding clarity of articulation and voicings (No.4). He is also witty, though seldom mercurial, always wholly musical. He evinces a profound inwardness in No.6, full of devout but unpredictable rubati, a melancholic characterisation far more intense than one would hear today. No.8 is deft, characterful, and 11 is a lovely performance, relaxed, elegant, whereas the concluding twelfth etude is passionate but with no extraneous gestures.
 
The Op. 25 set shows once more how technically adroit he was as a performer. It sounds very relaxed playing, beautifully weighted. And it is constantly alive, for instance Op.25 No.3 which is frolicsome and charged with animation. The droll outer sections of No.5 set the proto-Grieg writing in fine perspective, whereas elsewhere his phrasing is hypnotic or else –as in No.11- full of dramatic fervour. The final etude of this set has grandeur, nobility, and offers a fitting summation to the performance as a whole. As an added inducement these are the three Nouvelles Etudes, warmly played, and the Fantaisie-Impromptu, a sparkling illustration of Goldsand’s art.
 
The LPs have been impeccably transferred by Forgotten Records. As is often the case there are no notes but a couple of links to websites are provided. Above all, the performances are a reminder of what a true artist Goldsand was.
 
Jonathan Woolf