Search - Sydney Smith, George Frederick Handel, Camille Saint-Saens :: Piano Transcriptions

Delicious world premiere recordings

Hexameron | 03/10/2007

(4 out of 5 stars)

"I don't think I've ever seen such an unconventional selection of piano transcriptions assembled on a recording. While I think this is specifically geared to the piano connoisseur, the music is sumptuous enough to stand on its own and appeal to anyone. From the melodious operatic potpourri's of Sydney Smith to the beautiful passages of Gluck, there are plenty of musical attractions to whet the appetite. Eduardo Grossenstein seems new to the recording stage, but there is an endearing and invigorated quality to his playing that makes him a curiosity.



I had never even heard of Sydney Smith (1839-1889), who apparently studied under Moscheles and wrote operatic fantasies in the style of Liszt on his home continent of England. The Fantasie Brillante on La Traviata is a stupendous piece of melodic charm and drama. Verdi's mesmerizing themes are graciously complemented by the pianistic ornamentations and bravura. The Fantasie de Concert on Carmen is similarly spectacular and beautiful with its sweeping arpeggios and tuneful filigree. More akin to Herz or Thalberg, these two fantasies are satisfying salon pieces. Grossenstein's style of playing is quite flexible once he tackles the next four Baroque transcriptions, which includes an exceptional number of Gluck works. Handel's Arrival of the Queen of Sheba is marvelously convincing in the staccato tones of the piano. The music is crystal clear and pleasant, as if this was a Handel keyboard suite played on piano. The Gluck-Saint-Saens, though, is spellbinding. Innocent and alluring at first, the piece eventually explores profundity as best as the early-Classical composers could express. Both selections from Orpheus and Eurydice are bewitching in their subtle beauties and are completely pianistic.



The last two notable works are Rossini's Figaro aria and Mascagni's own transcription of the Cavalleria Rusticana Intermezzo. Both are delectable little piano reductions; Figaro's Aria, in particular, sounds like a virtuoso salon piece with its pyrotechnics and ample decorations. Moving on, I found the Casta Diva transcription lackluster; Fumagalli made a mistake by transcribing the main melody down an octave. The entire piece barely moves away from the center registers of the piano. Compare this trifle with Thalberg's sublime transcription, one that easily rivals a Chopin nocturne, and Fumagalli's becomes hack-work. Grossenstein's own transcription of Faure's Sanctus movement from the Requiem is an odd choice; his delivery is rather stale and unimaginative. But up until this point, I've failed to mention the fact that the piano used in this recording sounds nasal, metallic, and barely acoustic. If the piano was an authentic 19th century instrument, it would be excusable, but there is no information in the liner-notes as to the type of piano employed.



Bottom line: This is a recording that will be more appreciated by pianophiles or those who love piano transcriptions. Although there are a few duds, like the Casta Diva and some of the modern pieces from Maria My Own and The Diamond Contractor, the recording makes up for it with the Smith and Gluck pieces - genuinely worthy piano transcriptions that should be heard."