Busoni: Sonatina No. 6 (Chamber Fantasy on Themes from Bizet's Carmen)

2 CDs for the price of 1.

Michael Zadora is one of the most obscure pianists to have recorded prolifically in the 78rpm era. Only a handful of 78s have ever been reissued, and no LP or CD has ever been devoted to him. It would appear that his concert career was also not particularly high profile, yet from these recordings it seems he was a very significant artist. Perhaps the answer lies in his background. He was born in the New York of aristocratic Polish parents but returned to Europe to study and was a pupil of Leshetizky and Barth (who also taught Rubinstein). After the First World War he became a disciple of Busoni and indeed played for the great artist on his deathbed. Zadora seems to have been a rather reserved character, much more an intellectual than someone who enjoyed public performance and it is likely that family wealth allowed him the luxury of not have to pursue his career too aggressively. On the other hand, studio recording suited him very well indeed and he seems equally at home in the standard repertoire, such as Chopin, and in more rarefied material, such as the Busoni Sonatinas, where we are undoubtedly hearing an interpretation very close to that of the composer himself. Of particular interest are Zadora's own unusual transcriptions and also the works of 'Pietro Amadis' who was actually a pseudonym of the pianist.

These very rare recordings should be of particular interest to all lovers of historic piano playing.

Following on from his successful debut recording on Claves, Liszt / two piano concertos, Joseph Moog is back with a recital programme centered around the art of transcription. Metamorphose(n) includes transcriptions from Liszt, Friedman, Busoni, Moszkowski as well as the ‘master of the art’ Leopold Godowsky.

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. Goldstone’s completions and realisations of several works by Schubert and Mozart have been greeted with enthusiasm by musicologists and listeners alike.