dda 25093
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TCHAIKOVSKY: Rare transcriptions and paraphrases, vol. 1

As ever, Anthony Goldstone as both pianist and, in some cases, arranger, has produced a startlingly original and vibrant program. Here, music originally written for concert or operatic performance is presented in little known transcriptions, all but one in fact here receiving their first recording. An important and rare addition to the Tchaikovsky canon. Volume 2 will on the same basis contain transcriptions of music from Tchaikovsky's ballets.

Volume 2 (music from the ballets) now available on dda25106


AUDIO SAMPLE: Orchestral Suite No. 3 - Variations 4-5 (extract)






tracks: (*= world premiere recording)
Marche slave, Op. 31 *
(transcribed by H. Hanke)
Potpourri on themes from the opera The Voyevoda
(transcribed by 'H. Cramer ' i.e. Tchaikovsky)
Theme and Variations from Orchestral Suite no. 3 in G, Op. 55 *
Serenade in C for String Orchestra, Op. 48 *
(transcribed by Max Lippold, Anthony Goldstone)

review extracts: for full reviews click here

“A revelation from start to finish ... the piano version of [Marche slave] is a staggering conception. Renditions are imbued with a high dose of exciting pianism but the lyrical quality of the music is dealt with gentle finesse and subtle expressiveness. Sound and Balance are first-rate.” – Gerald Fenech (Classical Net)

“An underrated musician with an unrivalled pedigree... thumpingly effective.. a magnificent account of the Serenade for Strings which completely defies expectations and comes brilliantly and sonorously to life in the hands of this consummate expert and masterly technician.” – Michael Tumelty (The Herald Scotland)

“Goldstone makes his bravura mark from the outset .. luminous keyboard sound, and his polyphony quite sweeps us along to the end ... a fascinating excursion into Tchaikovsky.” – Gary Lemco (Audiophile Audition)

“No one should easily pass up the chance to hear Goldstone's insouciant virtuosity. {He brings] cultured and cultivated tonal qualities... playfulness too, conjured with a sense of breadth and tonal imagination, and warm phrasing. These qualities are reinforced by the excellent recording and good notes.” – Jonathan Woolf (MusicWeb)

“[Goldstone] delivers as rousing and scenic a version as 80 orchestral musicians. The only thing missing is cymbals on his feet. This level of musicianship makes the orchestra redundant. Highly recommended to all pianophiles and Tchaikovsky fans alike.” – Jean-Yves Duperron (Classical Music Sentinel)

Goldstone plays them all [the pieces] with great fluency and panache” – Andrew Clements (The Guardian)

“Exhilaration not just of the music itself ... but of defiant medium-crossing. Creating stringiness on an essentially percussive instrument brings an added zest.” – Paul Driver (Sunday Times)

“It is fascinating to hear familiar music in this guise because it enables the attentive listener to concentrate on the inner workings of this music, and thereby acquire a deeper understanding of Tchaikovsky's genius. The results are musically outstanding.” – Alexander Leonard (Musical Opinion)

“Tchaikovsky's orchestral music, not unlike Rachmaninov's, lends itself wonderfully to piano transcriptions and paraphrases—magnificently colourful and contoured, immaculately graded and given to long-breathed gestures, which push ever forward in intensity to reach climaxes of enormous power and grandeur. Much of the composer's romantic essence finds its way into piano versions and I can quite see why Anthony Goldstone has turned his attention, first to the orchestral and operatic music, and in the next instalment to the ballet music. The disc overall emerges as a creditable project, no doubt distracting Goldstone for some considerable time, not least in contributing to two of the four excellent transcriptions and in the writing of full, detailed booklet notes. His efforts are complemented by a warm, well-captured sound from Divine Art—I look forward to hearing Goldstone's second instalment featuring Tchaikovsky's ballet music.” - Mark Tanner (International Record Review)

“One has to compliment [Goldstone] on recording all this music with the necessary virtuosity and enormous stamina which is required. A musicological exercise – and a very good one...this pianist's remarkable recorded legacy ... will maintain his presence in catalogues of the distant future.” – Peter Graham Woolf (Musical Pointers)

“I love to hear [piano versions] for a better look at the inner structure ... these selections are all wonderful.” – Frank Behrens (Art Times Journal)

“Anthony Goldstone has always provided me with the greatest of pleasure by the consistency of his interpretations. He delights in the unusual in his   choice   of material and this is no exception. ” - Bill Newman (Daily Classical Music)