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As for the lute music of the later Baroque period, it represents an instrument long past its heyday: even late-Baroque musicians themselves considered the lute a distant shore - an anachronism.\u003c\/p\u003e","brand":"Sono Luminus","offers":[{"title":"CD","offer_id":44627027198186,"sku":"053479024220","price":18.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/138668.jpg?v=1778341550"},{"product_id":"age-of-elegance-greatest-hits-255327","title":"Age Of Elegance - Greatest Hits","description":"\u003cp\u003eThis disc includes both ADD and DDD recordings.\u003c\/p\u003e","brand":"Sony Masterworks","offers":[{"title":"CD","offer_id":44627024904426,"sku":"074646236925","price":11.98,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/4318206-3139837.jpg?v=1778202803"},{"product_id":"bach-the-goldberg-variations-jean-guillou-78056","title":"Bach: Goldberg Variations \/ Jean Guillou","description":"Bach, J.S.: Goldberg Variations (Arr. 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An excellent showman in addition to being one of the greatest pianists of all time, he always had an answer to the applause and requests for encores.  ENCORES is a collection of some of the pieces he prepared for such occasions.\u003cbr\u003eThese selections include some of more crowd-pleasing pieces from the classical repertoire, five of which were transcribed for piano by Horowitz himself.  The inclusion of \"Danse macabre\" and \"Wedding March and Variations\" illustrate his popular approach to encores.  His gift for dramatic flourish is particularly evident in the tracks recorded in concert.  Horowitz had an uncanny knack for playing off of an audience while performing even the most technically complex pieces.  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I would call it definitive -- everything exactly right -- one by which to measure all other performances of it.\" To LaMontaine, it's \"nothing less than stupendous.\"\u003cbr\u003e  \u003cbr\u003e Salvatore's interest in American music extends back into the 19th century, but he devotes this recording to \"a lost generation of works\" by American composers whose personal styles blossomed in the 1930s and 1940s -- styles marked by new harmonies and rhythms an ocean apart from European influences that once dominated American music.\u003cbr\u003e","brand":"Cedille","offers":[{"title":"CD","offer_id":44626418270442,"sku":"735131901024","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/678970.jpg?v=1778188680"},{"product_id":"liszt-works-for-violin-piano-barton-labe-247100","title":"Liszt: Works for Violin \u0026 Piano \/ Barton, Labe","description":"\u003cp\u003e*First Recording on CD.\u003c\/p\u003e","brand":"Sono Luminus","offers":[{"title":"CD","offer_id":44626409881834,"sku":"053479025128","price":18.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/178121.jpg?v=1778283141"},{"product_id":"organ-encores-jean-guillou-89629","title":"Organ Encores \/ Jean Guillou","description":"Organ Recital: Guillou, Jean Victor Arthur - BACH, J.S. \/ HA","brand":"Sono Luminus","offers":[{"title":"CD","offer_id":44626337399018,"sku":"053479011220","price":18.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/178075.jpg?v=1778283409"},{"product_id":"transcendental-bach-thomas-labe-246949","title":"Transcendental Bach \/ Thomas Labé","description":"\u003cp\u003eThe tradition of transcribing, arranging and adapting the music of Johann Sebastian Bach can be traced to the master himself: Bach made a lifelong habit of arranging works, his own and those of other composers. 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Le Fandango et Le Jaleo de Jerez\u003c\/em\u003e (1851) [4:17]\u003cbr\u003e   \u003cem\u003eLe Banjo, Grotesque Fantasie, Caprice Américain\u003c\/em\u003e (?1854\/55) [4:03]\u003cbr\u003e   \u003cem\u003eGrand Scherzo\u003c\/em\u003e (1869) [4:56]\u003cbr\u003e   \u003cem\u003ePasquinade, Caprice\u003c\/em\u003e (1863) [3:40]\u003cbr\u003e   \u003cem\u003eBerceuse, Cradle Song\u003c\/em\u003e (1861) [4:47]\u003cbr\u003e   \u003cem\u003eTournament Galop\u003c\/em\u003e (?1850\/51) [3:13]\u003cbr\u003e   \u003cem\u003eMazurk\u003c\/em\u003e [3:47]\u003cbr\u003e   \u003cem\u003e'Union' Paraphrase de Concert on the National Airs, The Star Spangled Banner, Yankee Doodle and Hail Columbia\u003c\/em\u003e (1852\/62) [8:41]\u003cbr\u003e   \u003cem\u003eThe Last Hope, Méditation Réligeuse\u003c\/em\u003e (1854) [6:01]\u003cbr\u003e   \u003cem\u003eScherzo Romantique\u003c\/em\u003e (1851) [3:50]\u003cbr\u003e   \u003cem\u003eLe Mancenillier, West Indian Serenade\u003c\/em\u003e (?1849\/50) [5:22]\u003cbr\u003e   \u003cem\u003eThe Dying Poet, Meditation\u003c\/em\u003e (?1863) [6:43]\u003cbr\u003e  \u003cbr\u003e   \u003cbr\u003e  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,  \u003cem\u003eLe Banjo, Le Bananier\u003c\/em\u003e and the jaw-dropping  \u003cem\u003eTremolo\u003c\/em\u003e. That was followed by a Naxos recording of the orchestral music –  \u003ca href=\"http:\/\/www.musicweb-international.com\/classrev\/2007\/Oct07\/Gottschalk_8559320.htm\"\u003ereview\u003c\/a\u003e – and, most recently, by Martin’s set of the complete piano music ( \u003ca href=\"http:\/\/www.musicweb-international.com\/classRev\/2011\/Nov11\/GottschalkPianoWks_Hyperion%20444518.htm\"\u003ereview\u003c\/a\u003e). 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.\u003cbr\u003e   \u003cbr\u003e  So it proves. The Chicago-born Alan Marks and British partner Nerine Barrett get off to a terrific start with  \u003cem\u003eRéponds-moi,\u003c\/em\u003e 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  \u003cem\u003ePrintemps d’Amour\u003c\/em\u003e 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.\u003cbr\u003e   \u003cbr\u003e  Rhythms are always impeccable, those in the early  \u003cem\u003eMarche de Nuit\u003c\/em\u003e and  \u003cem\u003eLe Bananier\u003c\/em\u003e 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  \u003cem\u003eOrfa\u003c\/em\u003e 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.\u003cbr\u003e   \u003cbr\u003e  The first CD ends with a triple flourish. After the Cuban smokiness of  \u003cem\u003eLa Gallina\u003c\/em\u003e – simply breathtaking in its quick-fire delivery – and that giddy little  \u003cem\u003eRadieuse\u003c\/em\u003e 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  \u003cem\u003eLe Banjo\u003c\/em\u003e. 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  \u003cem\u003ePasquinade\u003c\/em\u003e – shades of  \u003cem\u003eTremolo\u003c\/em\u003e, surely – and the cradle song.\u003cbr\u003e   \u003cbr\u003e  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  \u003cem\u003eTournament Galop\u003c\/em\u003e 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  \u003cem\u003eLast Hope\u003c\/em\u003e and  \u003cem\u003eDying Poet\u003c\/em\u003e; still they’re hardly dross, and both pianists’ versions are feelingly done.\u003cbr\u003e   \u003cbr\u003e  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.\u003cbr\u003e   \u003cbr\u003e  Energetic and entertaining; a must for Gottschalk groupies.\u003cbr\u003e   \u003cbr\u003e  -- Dan Morgan, MusicWeb International\u003cbr\u003e","brand":"Nimbus","offers":[{"title":"CD","offer_id":44625384145130,"sku":"710357704529","price":20.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0614\/3423\/3066\/files\/298633.jpg?v=1778295124"}],"url":"https:\/\/arkivmusic.com\/collections\/instrumental.oembed?page=3","provider":"ArkivMusic","version":"1.0","type":"link"}