{"title":"Jon Marks","description":"","products":[{"product_id":"gottschalk-piano-music-for-2-and-4-142258","title":"Gottschalk: Piano Music For 2 And 4 Hands \/ Marks, Barrett","description":"\u003cb\u003eEnergetic and entertaining; a must for Gottschalk groupies.\u003c\/b\u003e\u003cbr\u003e  \u003cbr\u003e CD 1*\u003cbr\u003e   \u003cem\u003eRéponds-moi, Danse Cubaine,\u003c\/em\u003e Op. 50 (1859) [2:37]\u003cbr\u003e   \u003cem\u003ePrintemps d'Amour, Mazurka, Caprice de Concert\u003c\/em\u003e, Op. 40 (1855) [4:31]\u003cbr\u003e   \u003cem\u003eMarche de Nuit,\u003c\/em\u003e Op. 17 (1855) [5:07]\u003cbr\u003e   \u003cem\u003eSes Yeux, Célèbre Polka de Concert,\u003c\/em\u003e Op. 66 (1865) [4:32]\u003cbr\u003e   \u003cem\u003eLa Jota Aragonesa, Caprice Espagnol,\u003c\/em\u003e Op. 14 (?1853) [4:14]\u003cbr\u003e   \u003cem\u003eLe Bananier, Chanson nègre,\u003c\/em\u003e Op. 5 (?1848) [3:03]\u003cbr\u003e   \u003cem\u003eOjos Criollos, Danse Cubaine, Caprice Brillante,\u003c\/em\u003e Op. 37 (1859) [2:46]\u003cbr\u003e   \u003cem\u003eOrfa, Grande Polka,\u003c\/em\u003e Op. 71 (?1863\/64) [2:39]\u003cbr\u003e   \u003cem\u003eLa Scintilla (L'Énticelle), Mazurka Sentimentale,\u003c\/em\u003e Op. 20 (1848\/53) [3:18]\u003cbr\u003e   \u003cem\u003eMarche Funèbre,\u003c\/em\u003e Op. 61\/64 (1853\/54) [5:46]\u003cbr\u003e   \u003cem\u003eLa Gallina, Danse Cubaine,\u003c\/em\u003e Op. 53 (1859\/63) [2:24]\u003cbr\u003e   \u003cem\u003eRadieuse, Grande Valse de Concert,\u003c\/em\u003e Op. 72 (?1863\/64) [5:35]\u003cbr\u003e   \u003cem\u003eGrande Tarantelle,\u003c\/em\u003e Op. 67 (?1865) [5:01]\u003cbr\u003e  CD 2**\u003cbr\u003e   \u003cem\u003eSouvenirs d'Andalousie, Caprice de Concert sur La Caña. 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\/jon-marks.oembed","provider":"ArkivMusic","version":"1.0","type":"link"}