Florent Schmitt stands alongside Debussy and Ravel as one of the most original and influential French composers of his time. Winner of the Prix de Rome in 1900, Schmitt wrote successfully in many forms but he was a formidable pianist who described his often rich and multi-staved scores as “fistfuls of piano”. His music for the instrument is colourful, filled with adventurous harmonic innovation, stylistic bravura and good humoured wit. This complete collection for piano duo and duet includes unpublished works and rarities.

Clara Schumann was one of the most famous of all 19th-century piano virtuosos, admired by contemporaries such as Liszt and Thalberg. Her piano works never succumb to stereotype and the Romances anticipate the sonority of Brahms' late music for piano. Her Variations, Op. 20 entwines Robert Schumann's themes with her own in music of touching intimacy. The Preludes and Fugues reflect Clara's love of Bach. This first volume of her complete music for solo piano is performed by the distinguished French pianist, Jean-Pierre Armengaud, who has written about Robert and Clara Schumann as well as having organised a symposium devoted to them.

Franz Xaver Wolfgang Mozart was the youngest of six children born to Wolfgang Amadeus and his wife Constanze. Franz Xaver's style was early Romantic, with compositions that were highly regarded by his contemporaries Schubert and Schumann. The Polonaise melancolique was an ideal medium for Franz Xaver's expressive melodies, and with some pieces anticipating Chopin, the Op. 17 collection forms a satisfying and substantial cycle. All of these works helped to establish Franz Xaver Mozart throughout Europe as a formidable concert pianist and composer.

Gottlieb Wallisch is a specialist in the music of the 1920s and 1930s as can be heard in Grand Piano's 20th Century Foxtrots series. Here he turns his attention to Wilhelm Grosz, the Viennese composer, pianist, conductor and orchestrator who was a musician of remarkable versatility and wide-ranging influences. All but one of the works in this collection are world premiere recordings.

This is the first of two volumes dedicated to works featuring violin and piano by Nikolay Tcherepnin and his son Alexander. Pianist Giorgio Koukl and violinist Klaidi Sahatci are joined by cellist Johann Sebastian Paetsch in the Trio Concertante and Piano Trio. All but one of the works in this collection are world premiere recordings including the recently discovered early Violin Sonata in C minor by Alexander Tcherepnin.

Jouni Somero's acclaimed survey of Palmgren's complete piano works continues with this eighth volume (of ten) in the series. The album features a diverse range of styles from concert studies to country dances, and all but one of the tracks are world premiere recordings.

This recording is a testament both to Isabel Dobarro's passionate commitment to the music of contemporary women composers and also to her promotion of their highly individual and richly varied perspectives. Featuring works by multi-award-winning composers including Dobrinka Tabakova, Julia Wolfe and Gabriela Ortiz, the music here ranges across continents, cultures and traditions.

Faik Bey Franz Della Sudda was Liszt's pupil from Turkey. Affectionately nicknamed 'Der Pasha' by Liszt, Della Sudda had a growing reputation among the musical press and society's elite for brilliant pianism and lyrically picturesque compositions. Prize-winning Turkish pianist, Zeynep Ucbasaran, performs this programme of all world premiere recordings.

Florent Schmitt was one of the most important of all French composers, an individualist who defies the simplicities of classification. The last of this four-disc series explores Schmitt's Humoresques, Op. 43, a cycle full of unexpected and witty twists, as well as the visionary Lied et scherzo, Op. 54. His gift for characterization is always evident, not least in Trois pieces recreates, Op. 37 which is strongly spiced with humor.

Schmitt remains one of the most important and influential French composers of the 20th century. He was a formidable pianist, and his writing for the instrument is colorful, bold and harmonically dexterous. The Invencia Piano Duo has won high critical acclaim for its compelling interpretations of a vast and diverse repertoire.

SAINT-SAËNS Allegro after the Third Concerto. Suite, op. 90. Allegro appassionato, op. 70. Thème varié, op. 97. 6 Fugues, op. 161 • Geoffrey Burleson (pn) • GRAND PIANO 605 (53:38)


The piano works of Saint-Saëns are some of the forgotten gems in the pianist’s possible repertoire. Being that the composer was one of the finest pianists in the second half of the 19th century, not only is the music well written for the instrument, it is, at its best, some of the composer’s most finessed and engaging. The current program features pieces written throughout the composer’s career, from the virtuosic transcription of the concerto movement and the Thème varié —both written for piano contests—to the more lighthearted and neoclassical suite. In general, Saint-Saëns’s music necessitates a virtuosic technique; he requires the pianist to maintain lucid textures, careful pedaling, sparkling passagework, and meticulous attention to articulation. In general, Geoffrey Burleson does an admirable job handling all of the many inherent difficulties of this music—just a quick glance at the theme and variations is enough to scare most pianists. What feels right about this program, moreover, is that the pieces are arranged in a way that makes one feel that one is listening to a recital, rather than just a second installment of the complete piano works of this composer. (This volume is just that. The first in the series was reviewed by Lynn René Bayley in Fanfare 35:6.)


The hyper-virtuosic Allegro, op. 29, opens the program. Though Burleson becomes a bit too heavy in some instances and dry in others (a little more pedal here and there might have helped in bringing out details of shifted orchestration on the piano) one can hardly complain about such a fine reading otherwise. The suite, while lighter in mood, contains some very fine moments, from the improvisatory-sounding Prelude to the lively and bouncy Gavotte. Burleson obviously relishes this little masterpiece. The real stars of this program for me, however, are the Thème varié and the fugues. Burleson does a fine job of maintaining a feeling of pulse throughout the entire op. 97, from the simple chorale theme to the more complex figuration in the variations—double notes, arpeggios, octaves, leaps, and the like! The pianist (who is also the author of some fine booklet notes) describes the Six Fugues, op. 161, as “a suite of dynamic character pieces.” I couldn’t agree more. Though one can play them as simple academic etudes, whether studies in composition or instrumental technique, Burleson shows them to be true musical masterpieces, from the quasi-prelude first, through the sprightly and lively third, to the longest and climactic final one. Indeed, performing them as a set just makes sense here. And with performances of these fugues as engaging as the music itself, one can only hope that this release may spur more pianists to play this music. As there is little competition in this repertoire, I am surely glad to add such a fine release to my collection. If you do not know this music, go out and grab this recording. Saint-Saëns is not one to disappoint.


FANFARE: Scott Noriega

Although he is best remembered for his orchestral and instrumental music, Saint-Saens was also responsible for spearheading the revival of the French Baroque, especially the music of Lully and Rameau, as well as being perfectly placed to absorb the latest instrumental dance music. His five "character waltzes" include the ethereal and ravishingly textured Valse mignonne, the stylistically forward-looking Valse nonchalante and the virtuosic Valse gaie, the composer's final waltz for solo piano, while the three minor key Mazurkas are strongly characterized and filled with ingenious musical contrasts. Last but not least, the three "souvenirs" are delightful evocations of particular corners of the world that inspired Saint-Saens.

Saint-Saëns’s first published works for piano were the vivid and characterful Six Bagatelles, Op 3. Album, Op 72 dates from his mid-career and teems with rich colours and textures—haunting and exciting alike. Elsewhere, in this third volume of the Complete Piano Music, we find the richly evocative tone poem Rhapsodie d’Auvergne, paraphrases, and some delicious encores.

A seminal figure of French Romantic music, Camille Saint-Sae?ns was also a great keyboard prodigy. The E?tudes, Op. 52 unite exuberant virtuosity with shimmering delicacy, while the Six E?tudes, Op. 111 pay homage to Chopin and Bach as well as anticipating Ravel’s impressionism. The neo-Baroque Op. 135, for left hand alone, is modelled on Couperin and Rameau. This title is the first volume of a series that brings together everything from Saint-Sae?ns’ spellbinding three sets of e?tudes to first recordings of transcriptions and other works.

Geoffrey Burleson has performed to wide acclaim throughout Europe and North America, and is equally active as a recitalist, concerto soloist, chamber musician and jazz performer. His numerous solo appearances include prominent venues in Paris, New York, Rome, Athens, Mexico City, Rotterdam, Chicago, Boston, Washington, Switzerland, England, Spain, and elsewhere.

“Burleson plays with enormous flair and style... superb!” – Fanfare for Naxos (8.559664)

“A top-notch pianist. Burleson’s piquancy and poetry blended beautifully.” – The Washington Post

This is the third of four volumes comprising the world premiere recording of Almeida Prado's complete Cartas Celestes (Celestial Charts) which depict the celestial bodies visible in the Brazilian night sky. Cartas Celestes (Celestial Charts) is one of prolific Brazilian composer José Antônio Rezende de Almeida Prado’s most important achievements. Exploring every kind of resonance and sound the piano has to offer and using a new harmonic language called “transtonality”, this set of works is described by pianist Aleyson Scopel as “a heroically audacious cycle” that depicts the sky and constellations in “colours, light, darkness and an almost mythological understanding and approach to the universe”. Brazilian pianist Aleyson Scopel is a recipient of the Nelson Freire and Magda Tagliaferro awards, and has also won numerous prizes in international competitions such as the William Kapell, Villa-Lobos, Corpus Christi, Kingsville and Southern Highland International Piano Competitions. Aleyson Scopel graduated with distinction in performance and academic honours from the New England Conservatory of Music, in Boston.