One of the most grown-up review sites around


Search MusicWeb Here

     
  
 

 

International mailing


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

Some items
to consider

in the first division


extraordinary by any standards


An excellent disc


a new benchmark

summation of a lifetime’s experience.


Piano Concertos 1 and 2
Surprise Best Seller and now
RECORDING OF THE MONTH


A Garland for John McCabe


ABRAHAMSEN Quartets


DIETHELM Symphonies


The best Rite of Spring in Years


BACH Magnificat


Brian Symphs 8, 21, 26


Just enjoy it!


.
La Mer Ticciati

Eriks EŠENVALDS

Detlev GLANERT

Jaw-dropping

 

 

 

REVIEW
Plain text for smartphones & printers


Advertising on
Musicweb



Donate and keep us afloat

 

New Releases

Naxos Classical


Nimbus Podcast


Obtain 10% discount


Special offer 50% off

Musicweb sells the following labels
Acte Préalable
(THE Polish label)
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

Sample: See what you will get

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

 

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