Divine Art: DDA25067
Anthony Goldstone: A Night at The Opera
Liszt: Paraphrase on Verdi’s Rigoletto
Liszt: Reminiscences of Bellini’s Norma (Grande fantaisie)
Gluck: Melodie, from Dance of the Blessed Spirits from Orfee et Euridice (arr.Sgambati)
Chopin: Variations, Op.2, on "La ci darem la mano" from Mozart’s Don Giovanni
Rimsky-Korsakov: The Bumble Bee, from The Tale of Tsar Sultan (arr.Rachmaninov)
Grainger: Ramble on the Last Love-duet in Der Rosenkavalier by Richard Strauss
Busoni: Chamber Fantasy on Bizet’s Carmen
Wagner: Isoldes Liebestod, from Tristan und Isolde (arr.Liszt)
Mendelssohn: Fantasy on “The Last Rose of Summer” [later used in Martha by Flotow], Op.15
Grunfeld: Soiree de Vienne, Op.56: Concert Paraphrase on Johann Strauss’ Waltz Motives from Die Fledermaus etc.
Our Price: £11.95 (£10.17 ex VAT)
Format: CD
Number of Discs: 1
Genre: Instrumental
Artist(s): Anthony Goldstone (piano)
Release Date: 16th June 2008
More Details on Anthony Goldstone: A Night at The Opera
Anthony Goldstone here presents a collection of paraphrases, transcriptions and variations from opera for solo piano.
The medium of opera has been the vehicle for some of the most passionate music, and the most beautiful melodies, ever written. Pianists are no more immune from passion than anyone else, and – despite the piano’s percussive method of sound production, or it may be because of it – they have been eager to accept, from whatever source, every opportunity to render a wonderful tune. It is no surprise that pianist-composers have plundered the treasures of opera for the benefit of their fellows. All melodies ultimately spring from the voice, and, no matter how ornate the costumes in which ever more adventurous composer-virtuosos have cloaked them, the challenge for the executant is to phrase them in such a way as not to invite detrimental comparison with the “real thing”.
Sometimes composers have distilled an opera into a manageable length for a piano piece; sometimes they have shamelessly cherry-picked. The comment attributed to Rossini regarding Wagner’s operas – that they contain fine moments but awful quarter-hours – is perhaps extreme, but it is self-evident that in any extended theatre piece there will be comparative highlights and longueurs. Moreover, at the piano the often wearisome plots can be ignored.
Anthony Goldstone is recognised as one of Britain’s most respected pianists.
The medium of opera has been the vehicle for some of the most passionate music, and the most beautiful melodies, ever written. Pianists are no more immune from passion than anyone else, and – despite the piano’s percussive method of sound production, or it may be because of it – they have been eager to accept, from whatever source, every opportunity to render a wonderful tune. It is no surprise that pianist-composers have plundered the treasures of opera for the benefit of their fellows. All melodies ultimately spring from the voice, and, no matter how ornate the costumes in which ever more adventurous composer-virtuosos have cloaked them, the challenge for the executant is to phrase them in such a way as not to invite detrimental comparison with the “real thing”.
Sometimes composers have distilled an opera into a manageable length for a piano piece; sometimes they have shamelessly cherry-picked. The comment attributed to Rossini regarding Wagner’s operas – that they contain fine moments but awful quarter-hours – is perhaps extreme, but it is self-evident that in any extended theatre piece there will be comparative highlights and longueurs. Moreover, at the piano the often wearisome plots can be ignored.
Anthony Goldstone is recognised as one of Britain’s most respected pianists.
