O r i e n t a l eYIDDISH DANCES (2003) *adam gorb (b.1958)

1 khosidl 2.562 terkishe 2.113 doina 1.534 hora 3.355 freylachs 4.14

6 CAPRICE ARABE, op. 96 ** 7.03camille saint-saëns (1835-1921)

7 IN THE STEPPES OFCENTRAL ASIA * 6.25

alexander borodin (1833-1887)

BENI MORA – Oriental Suitein E minor, op. 29 no. 1 **gustav holst (1874-1934), arr. noraday(1891-1985), performing edition byanthony goldstone (b.1944)

8 first dance 5.409 second dance 3.5510 finale: “in the street of the

ouled naïls” 5.57

11 ORIENTALE, op. 38 no. 17 * 2.02reinhold glière (1875-1956)

BALINESE CEREMONIAL MUSIC **colin mcphee (1900-1964)

12 pemoengkah 2.4113 gambangan 1.5614 taboeh teloe 4.50

SANGIT ALAMKARA SUITE (1988) *john mayer (1930-2004)

15 alaap 3.2316 gamakas 2.0617 jawab-sawal 2.4118 raga-samcara 3.2919 gaud mallar taan 5.01

20 HEBREW MELODY ** 5:26joseph achron (1886-1943), arr. leopoldauer (1845-1930), arr. anthonygoldstone (b.1944)

total playing time 78:16

goldstone & clemmow

* piano duet** two pianos

“World music” and “cross-over” arefashionable these days, but they are nothingnew. We present here eight examples of“serious” composers exploring ways of mixingeastern and western styles and “classical” andfolk traditions, the earliest going back to 1880.

We begin with a suite of Yiddish Dances thatis unashamedly described by its composer asa party piece. Originally written for symphonicwind orchestra in 1997 as a birthday offering, itwas superbly recast for piano duet in 2003.We commissioned this transcription from thecomposer with the financial help of the JewishMusic Institute (London, England) and gavethe first public performance at the BeverleyChamber Music Festival in Yorkshire inSeptember 2004 and the London première atthe South Bank Centre’s Purcell Room twomonths later for the JMI.

Cardiff-born Adam Gorb is currently Head ofthe School of Composition and ContemporaryMusic at the Royal Northern College of Musicin Manchester. He started writing music at theage of ten and first had a work broadcast onBBC Radio 3 only five years later. Hiscomposition teachers included Hugh Woodand Robin Holloway at Cambridge Universityand, later, Paul Patterson. His large output invarious genres has been recognised by

frequent performances, awards and anincreasing number of recordings, and he has acontinuing schedule of commissions.

Klezmer (k’li zemer is Hebrew for “instrumentof song”), the folk music of the Yiddish-speaking people of Eastern Europe, hasexperienced a huge surge in popularity inrecent years and is at the heart of thisentertaining work. Yiddish weddings and otherfestivities would be inconceivable without theparticipation of bands of klezmorim - a closeparallel with the traditions of the gypsies,whose music expresses the same extremes oflaughter and suffering and exults incomparable feats of virtuosity, also largelyexecuted on the clarinet and the fiddle. AdamGorb has a passion for klezmer music, whichis not surprising as it is in his genes: hisforbears, whose family name wasGorbulewsky, were forced to flee from theUkraine in 1905 at the time of the pogromsagainst the Jews, and his second cousin,Merlin Shepherd, is a front-rank klezmerclarinettist.

Almost without exception the material inYiddish Dances is original, i.e. does not useexisting melodies. The composer brieflycharacterises the five sections as follows:

“Khosidl [1] - [an improvised Chassidic dance,]a medium tempo in which the music movesbetween satire, sentimentality and pathos.Terkishe [2] - an up-tempo Jewish tango.Doina [3] - a free recitative in which variousinstruments in the band get a chance to showoff. Hora [4] – slow time with acharacteristic rocking rhythm. Freylachs [5] -[literally means ‘happy’,] very fast time inwhich themes from the previous movementsare recalled, ending in a riotous ‘booze-up’ forall concerned. Le Chaim! (To Life!)”

It might be added that Terkishe demonstratesthat Jewish culture has lived happily in Turkeyin the past. At the start of this dance the sidedrum of the original version is replaced by thesecondo player rapping on the inside of the fall(the keyboard lid) of the piano with theknuckles.

The Frenchman Camille Saint-Saëns wasblessed with a cornucopia of gifts. A polymath,fascinated by many subjects, he was an expertin astronomy, archaeology, geology andphilosophy, and also a poet and water-colourist. As a musician, having started off asprecociously as Mozart, he excelled not onlyas an immensely prolific composer but also asan organist (hailed by Liszt as the world’sgreatest), pianist, conductor and teacher. His

improvisatory skills were amazing and hissight-reading prodigious - for instance, heplayed Wagner’s operas at sight to theircomposer from the full scores. Music flowedfrom him - he seemed to find nothing difficult,producing music (in his own words) “as anapple tree produces apples”. His enormousfacility has weighed against him in thejudgment of some lofty critics but, despitebeing stereotyped as the greatest composerwho was not a genius, he has left much musicthat the world has taken to its heart - notmerely The Carnival of the Animals but, toname but a few further specimens, the “Organ”Symphony, Samson et Dalila, the First ’CelloConcerto and the Second Piano Concerto, thislast written within two and a half weeks.

Classicism was allied in him with a love of folkmusic and a distaste for ugly “modernism”. In1913, the year of Stravinsky’s The Rite ofSpring, he wrote, “He who does not prefer afolk tune of a lovely character, or a Gregorianchant without any accompaniment, to a seriesof dissonant and pretentious chords does notlove music.” (And, even if with reservations,who would not agree?) Not a few of his workswere folk-inspired; he travelled widely, often toArab countries - notably to Egypt and toAlgeria, where he passed away. Among hispieces with an Arabic flavour is Caprice arabe

[6], which was written in 1894 in the Canaries.Though any rawness is toned down by thecomposer’s sophisticated Gallic sensibilities,this effective pot-pourri does utilise conflictingrhythms and scales containing unusualinflections. At 2’22” the rhythm and tempo bearan uncanny resemblance to those of Terkishefrom Yiddish Dances. The lazy opening themereturns and there is a gentle final resolution.

Alexander Borodin, another outstandinglygifted human being, was the illegitimate son ofa prince, a brilliant career chemist and a self-taught spare-time composer who became amajor figure in the Russian nationalist school;his tone poem In the Steppes of Central Asia[7] is an example, similar in a way to Capricearabe, of an innately imperial approach, typicalof its time (1880), to the culture of subjectpeoples: an idealised musical snapshot fromforeign parts, in this case in the form of animaginary procession - beginning in thedistance, approaching and then fading into thedistance. Well known in its orchestral form, itappears here in the composer’s own versionfor piano duet. Borodin’s descriptive notevirtually says it all:“In the silence of the sandy steppes of centralAsia there resounds the first refrain of apeaceful Russian song. Also heard are themelancholy sounds of oriental songs; we hear

the tread of horses and camels comingtowards us. A caravan, escorted by Russiansoldiers, traverses the immense desert,continues its long journey without fear,abandoning itself with confidence to theprotection of the Russian soldiery. Thecaravan continues to approach, the songs ofthe Russians and those of the natives blend inthe same harmony, the refrains are longaudible in the desert and are finally lost in thedistance.”

It was inevitable that in order that the twoelements should “blend in the same harmony”it would be the minor-key oriental melody thatmade the adjustment - into the major key ofthe Russian song. It seems that Borodincomposed both themes, in two distinct folkstyles, in such a way that they might soundsimultaneously - an ingenious trick.

One might think it unlikely that a man whosegrandfather (Gustavus von Holst) was aLatvian teacher of harp and piano withScandinavian ancestors and German cousinswould become a pillar of the English musicalrenaissance of the early twentieth century, butGustav (von) Holst, who was born in thatmost English town, Cheltenham, did just that.While he was developing his individual voice,and before he made his name with his most

enduring masterpiece The Planets (1914-16),many influences competed for his attention,and unsurprisingly not all of them wereEnglish.

Holst was particularly drawn to orientalcultures. He learned Sanskrit in order to readand translate the Rig Veda, nine hymns ofwhich he set for voice and piano (1907-8) andfourteen for chorus (1908-12), and he wroteother Indian works: two operas, Sita (1900-6)and Sāvitri (1908), and a choral ode, TheCloud Messenger (1909-10). In 1915 heproduced a Japanese Suite for orchestra.

While he never visited India or Japan, Holstdid find inspiration for his oriental suite fororchestra, Beni Mora, at first hand. In 1908, torefresh himself mentally and physically, hewent on an extended walking and cycling tripto Algeria, where he noted down musicalfragments that he came across. The followingyear he composed an Oriental Dance, whichbecame the opening movement of Beni Mora,completed in 1910. The title was taken from anoasis in Robert Hitchen’s novel, “The Gardenof Allah”.

In 2003 we recorded Holst’s Japanese Suiteon Divine Art 25024 in the version for twopianos by Vally Lasker; she and Nora Day, two

mistresses on the music staff of St. Paul’sGirls’ School, West London (Holst wasDirector of Music there from 1905 to 1934),whom he called his “scribes”, were invaluableto him as amanuenses, as a long-standingcondition of neuritis in his right arm madewriting difficult and painful.

Nora Day attended St. Paul’s Girls’ Schoolfrom 1907 to 1910, then turned down a placeat Lady Margaret Hall, Oxford, apparently toremain at home in order to study the organwith Holst. She began to take on some dutiesin the musical life of the school and theheadmistress, Miss Gray, described her as “agirl of exceptional musical ability”. Havinggained a teaching diploma in 1912 she wasasked to become an assistant to Vally Lasker.She stayed at the school for fifty years, gaveHolst much help, and was the dedicatee of twoof his piano pieces in 1927.

It has been my pleasure to prepare aperforming edition of Nora Day’s two-pianoversion of Beni Mora for this recording, usingboth available manuscripts, each of whichcontains the two piano parts. Nora Day wasonly about nineteen years old at the time ofthe completion of Holst’s composition; no dateis known for her transcription, but she couldwell have been young and inexperienced.

Sprinkled with changes of mind, themanuscripts are at times unclear, often conflictone with the other, and employ a sort ofshorthand, and it is doubtful whether even arough run-through could have been attemptedusing them. Perhaps this transcription was oneof the first important tasks entrusted to her byHolst. I referred liberally to Holst’s orchestralscore and to his own solo piano version - notonly for clarification but also to supply therequisite articulation, phrasing, dynamics etc.,and it was not too difficult to arrive at apractical solution.

The First Dance [8] immediately sets thescene with strange chant-like phrases,alternating with more animated passages - allstrongly evocative of a distant, and verydifferent, world.

Curiously the beginning of the Second Dance[9] is not far removed from the Arabian Dancefrom Tchaikovsky’s Nutcracker ballet. Themood becomes more agitated, after which theimpetus evaporates with ethereal high chords,prescient of The Planets, which usher in thereprise of the first section.

The composer explained the suite’s finale, Inthe Street of the Ouled Naïls [10], as follows:“The ‘Ouled Naïls’ are Bedouin dancing girls;

and in Biskra a street is set aside for them inwhich nearly every house is a dancing hall orcafé. The opening (Adagio) suggests a desertat night. The lower strings have a melody ...which continues until a few flute figures bringus to the second section, Allegro moderato.We are to imagine a traveller drawing near tothe village, and hearing the flute playing amonotonous little tune which continuesthroughout the whole movement. On enteringthe village, fragments of other tunes areheard... These gradually grow clearer. In thestreet of the ‘Ouled Naïls’ the ear is bewilderedby the variety of strains that pour from thedancing halls, and the mind instinctivelygrasps the connection between this scene andthe greater chaos of the Sahara that liesbeyond. But, on turning the corner, the noisequickly subsides, and soon all fades away inthe silence of the night.”

Holst had written down the “monotonous littletune” (calling it “oboe tune in procession 5am”), adding, “they had been at it all night!”; heused it uncompromisingly throughout themovement as an ostinato, with astonishingcontrapuntal inventiveness, combining it withother material including strands from the firstmovement, and creating an obsessive effectanalogous to that of Ravel’s Boléro, writteneighteen years later - a veritable tour de force.

But it was all too much for the audience at thepremière in London’s Queen’s Hall in May1912, some of whom hissed the work after itsending faded into silence. “We do not ask forBiskra dancing girls in Langham Place,” wroteone strait-laced critic, and Vaughan Williamslater reflected, “if [Beni Mora] had been playedin Paris instead of London [it] would havegiven its composer a European reputation.” Itwas not published until 1921.

The title for this musical collection is takenfrom its shortest item, a miniature written by aman whose Third Symphony lasts, by contrast,nearly one and a half hours - that greatsurvivor among Russian composers, ReinholdGlière, who forged a long and celebratedcareer beginning in the Tsarist era andcontinuing through the turmoil of the RussianRevolution and the subsequent denunciationsof leading composers by the state. His motherwas in fact Polish and his father not of Belgianstock as had been thought, but from an oldSaxon family, Glier, as I revealed in my CD ofhis solo piano works [Olympia CD 711].

Orientale [11] is one of Twenty-four EasyPieces written in 1908. Glière had a knack ofinvesting instructional keyboard pieces withimmense charm, and these two minutes ofmusic summon up a hypnotic atmosphere. He

took a great interest in the music of the manypeoples of the Soviet Union, including -looking east - the Azerbaijanis, Uzbeks andBuryiat-Mongolians, to the extent of writing anAzerbaijani opera, Shakh-Senem (1923-1925),using copious folk material.

The Canadian-born American Colin McPheelived for some years in Bali in the thirtiescarrying out pioneering studies on theindigenous music (subsequently lecturing andwriting extensively on the subject) and helpingthe Balinese to preserve their own traditions.He integrated their music into his own works:as well as a large opus for two pianos andorchestra, Tabuh-Tabuhan, he transcribed andadapted for two pianos some pieces ofBalinese Ceremonial Music from the gamelan- the unique orchestra of Indonesia consistinglargely of gongs, xylophones andmetallophones. These he dedicated to theAmerican anthropologist Dr. Margaret Mead,who also made a deep study of Balineseculture. The three movements arePemoengkah (Overture to Shadow-play) [12],Gambangan (Intermezzo) [13] and TaboehTeloe (Ceremonial Music) [14].

The great English composer Benjamin Brittenmet McPhee in the USA in the winter of 1939-40 and recorded Balinese Ceremonial Music in

1941 with him. In turn Britten spent a fortnightin Bali in January 1956 during a Far Easterntour and was “knocked sideways”, finding themusic “fantastically rich - melodically,rhythmically, texture (such orchestration!!) andabove all formally.” His ballet dating from thatyear, The Prince of the Pagodas, madeprominent use of elements from two ofMcPhee’s pieces. Having witnessed workerscasually arriving from the rice paddies onmotor scooters, squatting on the ground andgiving stunningly virtuosic and colourfulperformances of extended gamelan pieces, allfrom memory, negotiating sudden violentchanges of tempo with quartz-like precisionunaided by any visible direction, I profess thesame admiration that Britten felt.

John Mayer was, like McPhee, a pioneer inthe synthesis of eastern and western music,but he himself was born in Calcutta in poorcircumstances, the son of an Indian motherand an Anglo-German-Indian father. Fromchildhood he studied both western and Indianmusic; one of his violin teachers was MehliMehta (the father of Zubin), who persuadedhim to compete for a scholarship to attend theRoyal Academy of Music, which he won,arriving in London in 1950. Although officially aviolin student, he also studied compositionprivately with Hungarian-born Mátyás Seiber

(1905-1960), a very fine mentor, who himselfhad written in a hybrid jazz/serial idiom –astoundingly – in about 1930, and whoencouraged him in mixing techniques of Indianand western music. (By cruel coincidence bothteacher and pupil died as the result ofautomobile accidents.)

Before long Mayer had to support himself byaccepting full-time posts playing the violin inLondon orchestras, but his ground-breakingworks, predating the Yehudi Menuhin/RaviShankar collaboration by many years, werebecoming known. For example Menuhinintroduced the First Violin Sonata in 1955, andCharles Groves commissioned his DanceSuite for sitar, flute, tabla, tanpura andsymphony orchestra, premièred by the RoyalLiverpool Philharmonic Orchestra in 1958. In1965 he left full-time orchestral playing toconcentrate on composition and at about thistime he co-founded the revolutionary groupIndo-Jazz Fusions, in which he played andwhich rapidly became highly successful. In the“classical” field the flautist James Galway isamong Mayer’s champions and formercollaborators.

I had got to know Johnny and we arranged forthe commissioning of Sangit Alamkara (1988)with funds from the Eastern Arts Association

(Eastern England in this case!). The titlemeans “musical decorations”. The firstmovement, Alaap [15], an exploratory prelude,goes furthest in bringing together east andwest: the piano has to be prepared by blockingcertain strings off in the middle register withfelt wedges, enabling the remaining stringswhen stroked to imitate the sympatheticstrings (taraf-taras) of a sitar playing the RagaMultani. Bass strings are plucked also, tosuggest the drone of the tanpura (a bassplucked stringed instument). When weperformed it on television Johnny reinforcedthis by strumming a more continuous drone onthe tanpura - something that he liked to do inother works also, writing an optional part forhimself to play. Introducing the performancehe explained his “inside the piano” proceduresby reminding everyone in his inimitable,personable way that the piano and theharpsichord are derivatives of eastern stringedinstruments!

The second movement, Gamakas(ornamentations) [16], is mostly stately, but itsenergetic close gives a foretaste of the finale.Then comes Jawab-Sawal (question andanswer) [17], a dialogue between the players,followed by Raga-Samcara (raga motifs) [18],whose touching outer sections sound to merather Hungarian (a subconscious tribute to

Seiber?). Lastly, the motoric Gaud Mallar Taan[19] presents varied ways of treating the RagaGaud Mallar, propelling this very specialaddition to the piano duet repertoire to adecisive conclusion.

Finally we return to the music of the Jewishpeople with a piece based on a hauntingly sadtraditional melody. Joseph Achron, ofLithuanian Jewish stock, was born in Polandand studied composition with Lyadov and theviolin with the great Hungarian violinist andteacher Leopold Auer at the St. PetersburgConservatory. (Auer, pupil of Joachim andteacher of Heifetz, is notorious for havingdeclined the dedication of Tchaikovsky’s ViolinConcerto.) Achron emigrated to the USA in1925, later making a living as a violinist in filmsoundtracks. His compositions became moreand more progressive, earning the admirationof Schoenberg.

Among his works for violin and orchestra arethree concertos, the last commissioned byHeifetz, and Hebrew Melody, Op. 33, writtenwhen he was twenty-five and a product of hisresearch into Jewish folklore; a version of thiswork, “specially arranged and edited forconcert use” for violin and piano by Auer,became a favourite encore. The second part ofthe melody develops passionately towards a

declamatory cadenza, after which the first partreturns nostalgically.

I made this transcription [20] in 1995 for us toplay as an encore after a two-piano recital wewere to give for a Jewish organisation inBaltimore. One point of interest is that in thesix-bar postlude recalling the opening (up tothe final arpeggiated chord) I have added highnotes which are harmonics of the melodynotes; these harmonics are played extremelysoftly and, while not perceived as notesthemselves, impart an exotic timbre to themelody. The effect was used by Saint-Saënsin the second movement of his Egyptian-inspired Fifth Piano Concerto as long ago as1896.

We have chosen the golden oriole to be thesymbol for this recording not only for itsstriking beauty but also because its enormousrange encompasses all the regions whosetraditions are represented, it knows no cultural,religious or political boundaries, and birds andmusic are inseparable.

Notes © Anthony Goldstone 2005

GOLDSTONE & CLEMMOW

With CDs approaching thirty in number and abusy concert schedule stretching back overtwenty years, the British piano duo Goldstoneand Clemmow is firmly established as aleading force. Described by Gramophone as “adazzling husband and wife team”, and byInternational Record Review as “a Britishinstitution in the best sense of the word”,internationally known artists AnthonyGoldstone and Caroline Clemmow formedtheir duo in 1984 and married in 1989. Theirextremely diverse activities in two-piano andpiano-duet recitals and double concertos,taking in major festivals, have sent them allover the British Isles as well as to Europe, theMiddle East and several times to the USA,where they have received standing ovationsand such press accolades as “revelations suchas this are rare in the concert hall these days”(Charleston Post and Courier). In theirrefreshingly presented concerts they mixfamous masterpieces and fascinating rarities,which they frequently unearth themselves, intoabsorbing and hugely entertainingprogrammes; their numerous BBC broadcastshave often included first hearings of unjustlyneglected works, and their equally enterprisingand acclaimed commercial recordings includemany world premières.

Having presented the complete duets ofMozart for the bicentenary, they decided toaccept the much greater challenge ofperforming the vast quantity of music writtenby Schubert specifically for four hands at onepiano. This they first did in 1993 - and havesince repeated several times - in a mammothcycle of seven concerts, which in itscompleteness (including works not found inthe collected edition) and original recital formatwas probably a world first. The Musical Timeswrote of this venture: “TheGoldstone/Clemmow performances invitedone superlative after another.” The completecycle (as a rare bonus including as encoresSchumann’s eight Schubert-inspiredPolonaises) is available on seven

CDs. “Haunted with the spirit of Schubert” -Luister, The Netherlands.

This is the duo’s fifth groundbreaking CD forDivine Art, “Tchaikovsky for Four Hands”,including the Fourth Symphony and Romeoand Juliet (25020) - “sheer pleasure” (BBCMusic Magazine), “Explorations” (25024) - “astimulating collection, splendidly presented bya first-class piano duo” (Gramophone),“Schubert: The Unauthorised Piano Duos”(25026) – “an invaluable disc” (Gramophone),and “Dvořák & Mendelssohn Symphonies forFour Hands” (25028) – “fine, immaculatelybalances and paced performances” (ClassicFM Magazine) being the others.

JOSEPHACHRON

COLINMCPHEE

Recorded with the generous assistance of Geoffrey Walters

Music copyright: Mayer: Estate of J. Mayer Achron: Carl FischerGorb: Maecenas Music Glière: Anglo-Soviet Music Press McPhee: G. Schirmer, IncRecorded in St. John the Baptist Church, Alkborough, North Lincs., England in 2005, except tracks 12-14 (1998).Piano technician: Philip KennedyA Maxim digital recording

Credits:cover photo: Golden Oriole: photo © Steve Bird, courtesy of Birdseekers Birdtourswww.birdtours.co.uk/birdseekersphoto of Adam Gorb courtesy of Adam Gorb : photo of John Mayer courtesy of the Mayer familyphoto of Joseph Achron © 2003 Milken Family Foundationphotos of Glière, Holst, Borodin and Saint-Saëns supplied by Lebrecht Music & Arts Photo Librarywww.lebrecht.co.uk (all images copyright)

booklet design: Stephen Sutton print preparation: Blake Printers Ltd

Issued under licence. 2005 Goldstone & Clemmow : © 2005 Divine Art Ltd.

WARNING: Copyright subsists in all recordings issued under this label. Any unauthorised broadcasting, public performance,copying or re-recording thereof in any manner whatsoever will constitute an infringement of such copyright. In the UnitedKingdom, licences for the use of recordings for public performance may be obtained from Phonographic Performance Ltd, 1,Upper James Street, London W1R 3HG.

www.divineartrecords.com

GUSTAVHOLST

ALEXANDER BORODIN

REINHOLDGLIÈRE

CAMILLESAINT-SAËNS

GOLDSTONE and CLEMMOWMore fine, pioneering recordings from divine art

DDA 25020 Tchaikovsky for Four HandsSymphony No. 4, (arr. Taneyev), Romeo & Juliet (arr. Purgold), Russian Folk Songs“mind-blowing” – Glasgow Herald

DDA 25024 ExplorationsFirst recordings: Holst, Leighton, Stevenson and Hedges – splendid modern works from British composers“strongly recommended” – Musical Opinion

DDA 25026 Schubert “Unauthorised” Piano Duos, volume 1Includes the “Trout” Quintet and other gems in brilliant transcriptions“invaluable” – Gramophone

DDA 25028 Dvořák “New World” Symphony and Mendelssohn “Scottish” SymphonyThe composers’ own versions for piano duet of these orchestral masterpieces“A real joy. Recommended” – MusicWeb

DDA 25032 “Orientale”Music inspired by the East from Holst, Achron, Borodin, Mayer, Glière, Saint-Saëns, Gorb and McPhee“startlingly effective” – BBC Radio 3

DDA 25038 Graham Whettam Piano MusicFine music for two and four hands: solo performances by both of the duo partners“exuberant yet accessible music deserves to be much more widely known … exceptional performances”– New Classics

DDA 25039 Schubert “Unauthorised” Piano Duos, volume 2Transcriptions by Schubert’s friend and duet partner Josef von Gahy“bright detailed recording, committed playing ... no reservations” – Musical Pointers

DDA 25042 Grieg for Piano DuoIncludes Grieg’s version for two pianos of his Piano Concerto and his arrangement of a Mozart sonata“played with compelling freshness … an outstanding recital” – International Piano

DDA 25046 Mozart on ReflectionMany incredible gems, with a newly completed Sonata for two pianos“this is a valuable release, with fine recorded quality…” – International Record Review

DDA 25056 “Burlesque” – Piano Music by Brian ChappleFrom jazz to atonality, works of major importance“certainly a find for those that love to discover the new” – MidWest Record

DDA 25070 Chopin for Piano DuoIncludes the first recording of the F minor Piano Concerto in the arrangement by Chopin and Mikuli“fascinating ... dazzling virtuosity and verve” – New Classics

DDA 25089 The Jazz AgeGershwin, Milhaud, Carmichael, Hill, Moyzes, Seiber: an absolute festival of joy“particularly impressive ... a delightful new record” – BBC Radio 3

DDA 25098 Hans Gál: The Complete Piano DuosA rare treasure – Romantic and lyrical music deserving of a wide audience“This is a marvellous release ... performed and recorded to the highest standards.” – American Record Guide

DDA 25101 “Delicias” – Spanish delights for piano duoEuropean exoticism from Spanish composers and others inspired by Spanish culture“The performances are superb. Enthusiastically recommended” – Fanfare (USA)

DDA 25104 “Magical Places” – Evocative Symphonic PoemsFrom Britain and Ireland through France and Spain, to Russia and Scandinavia, a true musical adventure“Terrific performances ... A nicely judged programme that is superbly played and recorded with clarity.”– International Piano

DDA 25118 Rimsky-Korsakov – Music for Piano DuoThe composer’s own arrangements of Scheherazade and Neapolitan Song; and his wife Nadezhda Purgold’stranscription of Antar“Husband-and-wife team Anthony Goldstone and Caroline Clemmow [provide] cast-iron guarantees of superbperformances. Hugely enjoyable ... an unexpectedly colourful disc.” – International Record Review

DDA 25125 Schubert “Unauthorised” Piano Duos, volume 3Première recordings of the ‘Death and the Maiden’ Quartet and of the ‘Unfinished’ Symphony No. 8 transcribed bySchubert’s confidante Hüttenbrenner, and in a new 4-movement complete performing edition.“If you love Schubert's music, you ought to hear this... A most stimulating release that has my highestrecommendation.” – Fanfare

DDV 24154 British Music for Piano DuoA highly acclaimed disc now re-issued, includes The Planets and other music by Holst, Elgar, Bury and Bainton“This is musicianship at its best, in ear opening interpretations.” – Classical Music Sentinel

DDA 21700 (7CD) Schubert: The Complete Works for Piano DuetThe pioneering and still only totally complete set of Schubert’s music for four hands at one piano

ALL of the above CDs contain world première recordings of major piano duo repertoire.The Divine Art catalogue also includes many acclaimed solo recordings by Anthony Goldstone.