CD 1*
Réponds-moi, Danse Cubaine, Op. 50 (1859) [2:37]
Printemps d'Amour, Mazurka, Caprice de Concert,
Op. 40 (1855) [4:31]
Marche de Nuit, Op. 17 (1855) [5:07]
Ses Yeux, Célèbre Polka de Concert, Op. 66 (1865) [4:32]
La Jota Aragonesa, Caprice Espagnol, Op. 14 (?1853)
[4:14]
Le Bananier, Chanson nègre, Op. 5 (?1848) [3:03]
Ojos Criollos, Danse Cubaine, Caprice Brillante, Op.
37 (1859) [2:46]
Orfa, Grande Polka, Op. 71 (?1863/64) [2:39]
La Scintilla (L'Énticelle), Mazurka Sentimentale,
Op. 20 (1848/53) [3:18]
Marche Funèbre, Op. 61/64 (1853/54) [5:46]
La Gallina, Danse Cubaine, Op. 53 (1859/63) [2:24]
Radieuse, Grande Valse de Concert, Op. 72 (?1863/64)
[5:35]
Grande Tarantelle, Op. 67 (?1865) [5:01]
CD 2**
Souvenirs d'Andalousie, Caprice de Concert sur La
Caña. Le Fandango et Le Jaleo de Jerez (1851) [4:17]
Le Banjo, Grotesque Fantasie, Caprice Américain (?1854/55)
[4:03]
Grand Scherzo (1869) [4:56]
Pasquinade, Caprice (1863) [3:40]
Berceuse, Cradle Song (1861) [4:47]
Tournament Galop (?1850/51) [3:13]
Mazurk [3:47]
'Union' Paraphrase de Concert on the National
Airs, The Star Spangled Banner, Yankee Doodle and Hail Columbia
(1852/62) [8:41]
The Last Hope, Méditation Réligeuse (1854) [6:01]
Scherzo Romantique (1851) [3:50]
Le Mancenillier, West Indian Serenade (?1849/50) [5:22]
The Dying Poet, Meditation (?1863) [6:43]
I count M. Louis Moreau Gottschalk among my most joyful and
refreshing musical discoveries of recent years. It all started
with a second-hand CD of the Irish pianist Philip Martin playing,
among other things, Le Banjo, Le Bananier and the jaw-dropping
Tremolo. That was followed by a Naxos recording of
the orchestral music – review
– and, most recently, by Martin’s set of the complete piano
music (review).
In a spirit of discovery I was only too keen to hear this Nimbus
collection, from two pianists who are new to me. It’s been around
for a while, but what makes this set rather special is that
CD 1 is devoted to four-handed versions of these showpieces;
and that promises to be very entertaining indeed.
So it proves. The Chicago-born Alan Marks and British partner
Nerine Barrett get off to a terrific start with Réponds-moi,
a now sparkling, now seductive little Cuban number. Anyone who
knows the two-hander will be astonished by the ebullience and
invention on display here. The piano sound is clear and unfettered,
making it ideal for such spontaneous writing and playing. The
music-box tinkle of Printemps d’Amour is especially
attractive, that quicksilver treble a real delight. What a marvellous
sense of collective music-making, and how well these players
get to the open, easeful heart of these works.
Rhythms are always impeccable, those in the early Marche
de Nuit and Le Bananier superbly sprung. I’m delighted
at how the oft winsome character of Gottschalk’s creations is
so well caught and characterised. Dances – whether central American
or central European – trip off the keyboard in a most disarming
way. The imperious mien and Mediterranean warmth of that Spanish
caprice are brought out in full. Occasionally, in Orfa
for instance, I miss Martin’s more thoughtful, introspective
playing style, in which rhythms and textures are more subtly
done. Really that’s a minor caveat when Marks and Barrett’s
musicianship is otherwise so polished and pleasing.
The first CD ends with a triple flourish. After the Cuban smokiness
of La Gallina – simply breathtaking in its quick-fire
delivery – and that giddy little Radieuse waltz, comes
a crowning tarantella. Marks faces formidable competition in
disc two which, recorded several years earlier, sounds a little
brighter than the first. Make no mistake, the playing here is
very assured, and Marks only yields to Martin in pieces such
as Le Banjo. Here the Irishman’s control of touch and
dynamics is unrivalled. The American is rather less nuanced
or revealing. Then again, he just melts one’s heart with the
charming Pasquinade – shades of Tremolo, surely
– and the cradle song.
It’s an invidious task comparing these two pianists in this
repertoire. I wouldn’t want to be without either of them. Just
listen to Marks’s runaway rendition of the Tournament Galop
and that medley of American patriotic tunes and you’ll hear
what I mean. Yes, Martin has the better, fuller recording and
a surer, more intuitive way with this music, but Marks certainly
captures the generous, larger-than-life nature of these pieces
very well indeed. In spite of some lovely touches neither pianist
can save the rather maudlin Last Hope and Dying
Poet; still they’re hardly dross, and both pianists’ versions
are feelingly done.
I see from the rather skimpy liner-notes that Alan Marks died
in 1995, which is a pity as I’d have liked to hear more Gottschalk
from him. That said, it’s the four-handers that offer the greatest
and most consistent musical rewards; the solos are somewhat
intermittent in their appeal. Fine, atmospheric recordings though.
Energetic and entertaining; a must for Gottschalk groupies.
Dan Morgan
http://twitter.com/mahlerei
see also review
by Gerald Fenech
*Alan Marks, Nerine Barrett (piano)