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.
Jonathan Woolf
A sense of breadth and tonal imagination, and warm phrasing.
see also review by Brian Reinhart