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Leopold Godowsky Piano Music, Vol. 12 6 Waltz-Poems for the Left Hand Alone Transcriptions Marco Polo 8. 225364
Strauss - 6 Lieder, Op. 17, TrV 149: No. 2. Standchen 6 Waltz Poems for the Left Hand Alone: 3 concert studies, Op. 11: No. 1 in C Major: Grottesco Schumann - Myrthen, Op. 25: No. 24. Du bist sie eine Blume (A flower to me thou seemest) Brahms - 5 Romanzen und Lieder, Op. 84: No. 4. Vergebliches Standchen Schubert - Schwanengesang, D. 957: No. 12. Am Meer Kreisler - Rondino on a Theme by Beethoven Bohm - Still wie die Nacht (Calm as the Night), Op. 326, No. 27 Schumann - Myrthen, Op. 25: No. 14. Hochlandisches Wiegenlied (Highland Cradle Song) Suite for the Left Hand (excerpts): Menuet Gigue Schubert - Die schone Mullerin, Op. 25, D. 795: No. 18. Trockne Blumen 6 Waltz Poems for the Left Hand Alone: No. 4. Moderato, con tenerezza e grazioso No. 5. Moderato No. 6. Con fuoco Weber - Aufforderung zum Tanze (Invitation to the Dance) Weber - Perpetuum Mobile
As always, Scherbakov is in complete command, technically and musically. His sense of textural foreground and background particularly shines in the Six Waltz-Poems for the left hand alone, while his firm articulation and rhythmic drive in the Op. 11 No. 1 Concert Study prove more interesting than the actual music. These qualities also describe Scherbakov’s bravura performance of the Weber Perpetuum Mobile, where Godowsky piles more technical hurdles on top of that composer’s already challenging First Sonata Rondo finale. In Godowsky’s hands, Weber’s Invitation to the Dance gets swallowed up into a huge contrapuntal paraphrase, packed with chromatic reharmonizations and garish inner voices. Somehow Scherbakov’s straightforward elegance and stylish poise prevent the music from sounding overloaded. Jed Distler, Classics Today
Each piece ...is wonderfully characterised to show these largely forgotten works in the best possible light. Jeremy Nicholas, Gramophone
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