…Dedova is an artist of the highest caliber and she takes the listener on this journey through Debussy’s landscape as a knowledgeable and confident guide…
The contents of the EMI box are too numerous to list but all the sonatas, variations, and most short pieces are here: absent is the London Sketchbook, which is trite juvenalia.
"…Stefan Irmer has clearly studied and truly learned this music. So often on a disc of rarely performed music one gets the feeling that the pianist is sight-reading the notes in order to make a recording of previously unrecorded music. Not so here. Irmer performs with wonderful clarity, variety of tone, panache, and commitment. He truly sells the music.
Natural recorded sound, capturing very well the 1901 Steinway used for the recording, rounds out a delightful disc." ~Fanfare
With his idiomatic and graceful style, pianist Philip Martin has established himself as the foremost exponent of Gottschalk. Much of his music is by no means easy to play; it requires an impeccable technique matched with Èlan and joie de vivre for its most effective execution. Although not essentially a great composer, Louis Moreau Gottschalk had a unique spontaneity and individuality which Martins performances bring vividly to the fore. The composers music was hugely popular during his lifetime and his works display a real melodic charm and a great sense of fun. Each of the eight discs in Martins extensive Gottschalk series has received wide acclaim and left pianophiles eagerly awaiting the next issue.
The penultimate volume in Hyperion’s four-part survey of the complete solo piano music of Ernő Dohnányi focuses on music from the period when the composer’s pre-eminent position was being assured. The titles of the largest works here, Ruralia hungarica and the Variations on a Hungarian Folksong, mask in their nationalistic ostentation the skill of a true master of piano composition. Martin Roscoe inhabits the world of Dohnányi’s music like no other—appraisals of the earlier volumes attest to this—and this new recording is a joy.
Jean-Yves Thibaudet has undertaken the complete solo piano works of another late nineteenth/early twentieth century French composer: Erik Satie. This even includes a sample of Vexations, that theme and two variations that Satie instructs to be played slowly, 840 times. It's interesting to compare Thibaudet's interpretations of these works with those of Aldo Ciccolini, who was one of Thibaudet's teachers. Overall, Thibaudet gives a less-Romantic interpretation, with less overt emotion and more introverted abstraction, but it is not overly academic.