made and printed in the UK divine art recordings group Ronald Stevenson CD1 (total duration 71.22)

1 Komm, süsser Tod, BWV 478 (Bach–Stevenson) 4.00 2 Prelude and Chorale (an Easter Offering) Andante 3.47 the divine art family of labels L’Art nouveau du chant appliqué au piano – Volume 1 18.40 3 1. Elëanore (Coleridge-Taylor–Stevenson) Moderato, appassionato 3.18 4 2. So we’ll go no more a-roving (Maud Valérie White–Stevenson) Andantino 4.36 5 3. Plus blanche que la plus blanche hermine (Meyerbeer–Stevenson) 5.37 Andantino grazioso 6 4. In the silent night (Rachmaninov–Stevenson) Lento 3.14 7 5. Go not, happy day (Bridge–Stevenson) 1.55 Allegrissimo con gioia sfiatata e con freschezza primevale (with breathless joy and with spring like freshness) L’Art nouveau du chant appliqué au piano – Volume 2 8.15 8 1. Fly home little heart (Ivor Novello-Stevenson) Andante comodo 2.32 A full list of over 300 titles, with full track details, reviews, artist profiles and audio samples, 9 2. We’ll gather lilacs (Ivor Novello-Stevenson) Andante comodo 3.23 is on our website. All our recordings are available at any good record store or direct from 10 3. Demande et réponse (from Petite Suite de Concert Op. 77, by Samuel 1.13 our secure web stores. Also sole agents in the USA for Move Records of Australia. Coleridge-Taylor, transcribed by Stevenson) Andante 11 4. Will you remember? (Sigmund Romberg-Stevenson) Tempo di valse 1.07 Diversions LLC, 333 Jones Drive, Brandon, VT 05733, USA 12 Scottish Ballad no. 1 ‘Lord Randal’ Allegro moderato. Strong, stark and steady 3.09 Tel: +1 802 247 4295 email: [email protected] 13 Fugue on a fragment of Chopin Allegro moderato 6.57 Divine Art Ltd., 3 Cypress Close, Doddington, Cambs. PE15 0LE, UK Pénsées sur des Préludes de Chopin 9.32 Tel: +44 (0)1609 882062 email: [email protected] 14 No. 1 Agitato 1.15 15 No. 2 Lento funebre 1.49 www.divineartrecords.com 16 No. 3 Andantino (alla Mazurka) 1.21 17 No. 4 Lento sostenuto 1.25 Printed catalogue sent on request 18 No. 5 Allegro agitato, con urgenza 1.41 Most titles also available in digital download through iTunes, Classics Online 19 No. 6 Non agitato 2.01 and at http://divineartdigital.downloadcentric.net 20 Variations-Study on a Chopin Waltz Veloce 2.06 21 Etudette d’après Korsakov et Chopin Allegrissimo (ma forse non presto!) 1.41 Three contrapuntal studies on Chopin Waltzes 13.08 WARNING: Copyright subsists in all recordings issued under this label. Any unauthorised broadcasting, public 22 No. 1 Waltz in A flat op. 34/1 for right hand alone 3.58 performance, copying or re-recording thereof in any manner whatsoever will constitute an infringement 23 No. 2 Waltz in A flat op. 42 for left hand alone 5.34 of such copyright. In the United Kingdom, licences for the use of recordings for public performance may be obtained from Phonographic Performance Ltd, 1, Upper James Street, London W1R 3HG. 24 No. 3 Double Waltz 3.36 23 piano music CD2 (total duration 70.35) Acknowledgement: Le festin d’Alkan: Concerto for solo piano, without orchestra: This recording has been facilitated by a grant from the Ida Carroll Trust ‘Petit concert en forme d’études’ pour piano seul à Peter Hick 27.12 through the kind offices of John Turner. It has been made in co-operation 1 Free composition 6.36 with the Manchester Musical Heritage Trust. Donations in support of Allegro senza allegrezza–Marcia intrepida, non troppo allegro–ardente, cinetico–quasi gran the project have been received from the following organizations; Ronald caisa–pesante il basso Stevenson Society; Da Capo Music Ltd. (Colin & Rayna Bayliss); Divine 2 Free transcription 10.21 Art Recordings Group (Stephen Sutton); Dunelm Records (Joyce & Andante ipnotico–Trio 1(Scarlattianalkanesco)–Trio 2–Come prima–Trio 1a (Scarlattianalkanesco)–Trio 3–En Carillon–Development of Trio 1a–Come prima–Erinnerung Jim Pattison); Trust (Dr. Morag Chisholm); Michael and und Vorerinnerung an Dallapiccola (Memory and premonition of Dallapiccola) Ernest Corby Foundation (Michael Corby); O’Shea-Farren Solicitors (Mr 3 Free multiple variations 10.15 & Mrs Brian P. Farren & family); Patrick Waller Ltd. (Dr. Patrick Waller); Moderato macabre–alla danza–cadenza 1(LH alone)–Moderato articulato non forte and from these generous friends: (RH solo)–Fughetta (Allegro assai con amarezza)–quasi chittarra–cadenza II (RH alone)–6/8=2/2–escatto in tempo-Cadenza 3 (For both hands)–Solo, quasi l’orchestra, con Jamie R. Baxter; Iain Colquhoun; Kenneth Derus; Geoffrey Elborn; Liz ped ampia–a tempo corrente–D’après la Chanson Gibson; Blanche Gordon; the late Carole Grindea; Kurt Hediger; Dr. ‘Folle au bord de la Mer’–Ricordano lo Schubert nel bicentenario della sua nascita; anche Peter Hick; John & Joan Humphreys; Dr. Keith Jones; Nadia Lasserson; ricordando la sua vita breve’ Chang Tou Liang; Prof. Neil McKelvie; Archie & Esther McLellan; Susan Sonata no. 1 in G minor (Ysaÿe-Stevenson) 16.43 4 Preludio: Grave Lento assai 4.50 Oakes; Vic & Phyllis Perry; Malcolm Porteous; Gordon Rumson; Mark 5 Fugato: Molto moderato 4.46 Spalding; Mick Swithinbank, Stephen Ward; Tatiana Webster; Albert & 6 Allegretto poco scherzoso 4.15 Edith Wullschleger. 7 Finale con brio Allegro 2.52 Without their kind contributions, this project would not have been Sonata no. 2 (Ysaÿe-Stevenson) 14.17 possible. Thanks are due to all. 8 Obsession: Prelude poco vivace 3.09 9 Malinconia: Poco lento 2.36 10 Danse des ombres: Sarabande Lento 5.24 11 Les furies: Allegro furioso 3.08 12 Norse Elegy Lento ma con moto, con passion repressa 7.59 13 Canonic Caprice on ‘The Bat’ Tempo di valse 4.22

22 CD3 (total duration 75.03) Concerto competition for young pianists Teachers’ Association (EPTA UK). As as well as the Founder/Artistic Director of well as performing and teaching, he is well the world famous Chetham’s International known internationally for his numerous 1 Fantasy for mechanical organ, K608 (Mozart–Stevenson) 14.13 Summer school and festival for Pianists, articles on piano technique and repertoire. Allegro moderato e maestoso–Fuga–Andante con variazioni–Kadenz–Tempo I Europe’s largest summer school devoted This includes extended columns which have 2 Romanze from Piano Concerto in D minor, K466 (Mozart, realised by Ronald Stevenson) 9.22 exclusively to the piano. As a teacher appeared in ‘International Piano’ ‘Pianist’ and Andando McLachlan continues to be very busy and ‘Piano’ Magazines. In 2012 he was awarded 3 Melody on a ground of Glazunov (Stevenson) Poco lento 2.19 in demand. Many of his students have won an honorary doctorate by the University of 4 Ricordanza di San Romerio (A pilgrimage for piano) (Stevenson) 4.36 prizes in competitions and continued with Dundee for outstanding services to music Corale–Senza misura, libero,quasi recitativo, non strettamente nelle durate scritte– their own successful careers as performers. and education. This follows on from a Andando, piu severo in tempo Murray McLachlan is editor of ‘Piano knighthood awarded in 1997 by the Order Three Grounds (Purcell-Stevenson) free transcriptions 9.19 Professional’ Magazine, as well as Chair of St John of Jerusalem in recognition of his 5 No. 1 Andante quasi fado 3.42 of the UK section of the European Piano services to music in Malta. 6 No. 2 Andante arioso 3.21 7 No. 3 Allegretto 2.16 www.murraymclachlan.com 8 Toccata (Purcell-Stevenson) free transcription 7.26 Preludio (Allegro)-Fugato (Allegro comodo)-Alla giga-Fantasia-Allegro-Largo This album was recorded at the Haden-Freeman Concert Hall, Royal Northern College of Music, 9 Little Jazz Variations on Purcell’s ‘New Scotch Tune’ (Stevenson) 5.10 Manchester. Tune: Allegretto, Var. 1: Andante langoroso; Var. 2: Allegro, nello stile jazz; CD1: 26 January, 3 February and 24 February 2010; CD2: 24 February, 14 April and 16 April Var. 3: Blues; Var. 4: Andante cantabile; Var. 5: Poco lento 10 Hornpipe (Purcell-Stevenson) free transcription Con spirito 3.14 2010; CD3: 21 October 2009 and 4 January 2010. 11 The Queen’s Dolour (A farewell) (Purcell, realised Stevenson) Adagio 4.07 The instrument is a Steinway Model D. Two Music Portraits (Stevenson) 2.11 Recorded, edited and mastered by Stephen Guy and David Coyle. 12 No. 1 Valse Charlot 0.47 13 No. 2 Valse Garbo 1.24 Produced by Murray McLachlan Three Elizabethan Pieces after John Bull free transcriptions 13.04 Executive Producers Jim Pattison and Stephen Sutton 14 No. 1 Pavan Con dignità 5.58 15 No. 2 Galliard Moderato e maestoso 3.11 ℗ © 2012 Divine Art Ltd. 16 No. 3 Jig (The King’s Hunt) Allegro vigoroso 3.55 Photographs of the composer kindly supplied by (front cover) Glasgow Herald; (back cover) John Tilstone Ellis. MURRAY McLACHLAN piano Photographs of the pianist by Kathryn Page 21 The Pianist The Composer & his Music

‘Ronald Stevenson, with whom I share an there are many that are colourfully admiration for my great teacher, George approachable for relatively modest players in Enescu, is one of the most original minds in the the early years of learning. In addition to this “Murray McLachlan is a pianist with a virtuoso six concertos of Alexander Tcherepnin, the world of the composition of music. His works extraordinary pianistic œuvre, Stevenson’s technique and a sure sense of line. His timing 24 Preludes and Fugues of Rodion Shchedrin, always seem dedicated beyond the music – a compositions include three hundred songs, and phrasing are impeccable, and his tone – Ronald Stevenson’s Passacaglia on DSCH the humane impulse, reminding me of Mozart, two piano concertos, a sixty-minute long full but unforced in the powerful passages, major works of Kabalevsky, Khachaturian that makes his music particularly attractive to , a ’ and a gentle and restrained in the more lyrical – is and the complete solo piano music of Erik a wide audience’. . monumental choral-orchestral composition a perpetual delight” (‘BBC Music Magazine’) Chisholm. Born on March 6 1928 in Blackburn, entitled Ben Dorain. Since making his professional debut in McLachlan’s repertoire includes over 40 Hovering over all of Stevenson’s music concertos and 25 recital programmes. He Lancashire to working class parents of Scots 1986 at the age of 21 under the baton of and Welsh ancestry, Ronald Stevenson is an there is the work for which he is best Sir Alexander Gibson, Murray McLachlan has performed the complete Beethoven known, the Passacaglia on DSCH for solo piano sonata cycle four times, as well as extraordinary figure, a composer-pianist in has consistently received outstanding critical the grand tradition who has always worked piano, (completed 1962 and of which my acclaim. Educated at Chetham’s School of the complete piano music of Brahms. He interpretation is available on Divine Art has given first performances of works by with the highest ideals and fierce integrity. Music and Cambridge University, his mentors Stevenson trained at the Royal Manchester Records), an immense composition lasting included Ronald Stevenson, David Hartigan, many composers, including Martin Butler, some 80 minutes which was admired by Ronald Stevenson, Charles Camilleri, College of Music and the Conservatorio Ryszard Bakst, Peter Katin and Norma Santa Cecilia in Rome before settling Walton and described by Wilfred Mellers as Fisher. His recording career began in 1988 Michael Parkin and even Beethoven! He has “surely one of the greatest works for solo appeared as soloist with most of the leading in Scotland from the 1950s to follow a and immediately attracted international remarkable artistic path which has in many piano, not merely of our own time”. attention. Recordings of contemporary UK orchestras. His recognition has been Long before Antony Beaumont, far-reaching, bringing invitations to perform ways continued the work of the great music have won numerous accolades, composer-pianists of the past. Stevenson had been considered a remarkable including full star ratings, as well as ‘rosette’ on all five continents. At the same time he Busoni scholar, and his radio documentary continues to give numerous concerts and It is virtually impossible within the and ‘key recording’ status in the Penguin confines of liner notes to begin to do justice broadcasts on this composer led to a Harriet Guide to CDs, and ‘Disc of the month’ and master classes in the UK. Cohen prize before a full scale television McLachlan teaches at the Royal Northern to Stevenson’s achievements as a composer, ‘Record of the month’ in MusicWeb and described as “this ‘Brythonic’ figure” by documentary for the BBC was both written The Herald. McLachlan’s discography now College of Music and at Chetham’s School and presented by Stevenson in the early of Music in Manchester where he has been Nicholas Slonimsky. He has written nearly includes over forty commercial recordings, 500 piano pieces, and though a significant 1970s. His Busoni research includes a including the complete sonatas of Head of Keyboard since 1997. He is the historical novel of over 2,000 pages in the founder of the Manchester International proportion of these are virtuosic and Beethoven, Myaskovsky and Prokofiev, the challengingly complex by any standards, form of a pyramid and overlaps with many

20 5 of his other literally interests and projects, the one hand yet fastidious and intimately Jig. It seems particularly sad that music as Sadly it is certainly not the only work of notably his research. In conceived when the need arises. His feet immediate, entertaining, lovingly crafted Ronald Stevenson to have (so far) suffered addition, he has published A History of are as creative as his fingers, his rubato, and individual as this set has remained so a similar fate. Western Music (Kahn and Avrill 1971), a voicing, range of colours and touch control obscure and under-performed for so long. Notes © 2012, Murray McLachlan treatise on Piano Technique and countless as impressive as anyone of his generation. articles for publications including The Listener The series of solo recordings Stevenson and the EPTA Journal. Mention should also be made in the 1980s for the Altarus Label made of his profound knowledge and love (especially the ‘Cathedrals in Sound’ recital of poetry as well as of his associations with and the Busoni and Passacaglia discs) show many of the great twentieth century Scots him to be one of the great ‘unsung heroes’ poets including Hugh MacDiarmid, Sorley not only as a composer, but equally so as an MacLean and Norman McCaig. interpreter. Apart from composing, presenting It would be wrong, however, to separate and writing, Stevenson has given countless performance from composition when piano recitals, concerto performances and considering the genius of Stevenson, and the broadcasts for the BBC over the years. main reason that his piano works literally Many of his concerts have inevitably been leap off the page to the prospective player is as an interpreter of his own music, including that they are written by a master-performer the world première of the Passacaglia (Cape who knows the instrument intimately from Town 1963), the Song Cycle Border Boyhood the inside. This ‘organic’, holistic approach with Peter Pears (Aldeburgh 1971), Piano has obviously come from a deep study of Concerto no.1 with the Scottish National the technical exercises, pianistic approaches, Orchestra under Sir Alexander Gibson transcriptions and compositions of (Edinburgh 1966) and Piano Concerto no.2 figures such as Busoni, Grainger, d’Albert, with the New Philharmonia Orchestra Paderewski, Godowsky, Chopin and Liszt, as under Norman Del Mar (Henry Wood well as from a firm theoretical foundation Proms, 1972). via the Viennese classics, Bach in abundance, An admirer of the ‘Golden Age’ of and traditional harmony and counterpoint Piano Playing, Stevenson’s pianism is (at one point the teenage Stevenson was always searchingly aristocratic, creative and rising at 6am daily to study Palestrina!) cantabile. His sound world as a pianist is Hard, grinding erudition has accompanied Murray McLachlan with the Steinway unmistakably beautiful, uniquely spacious on a love of melody throughout Stevenson’s 6 19 final variation shows contrapuntal skill and apologetic derangement! ‘Transcription’ is a career, and his father’s admiration of singer folksy, populist outgoing honesty of many precision at its most natural and unforced. creative re-working!” John McCormack left an early impression a Stevenson phrase. However, it would be Hornpipe (begun and indeed completed Amongst the smallest shavings from which was to lead to a detailed study of wrong to view Busoni/Grainger as a kind in January 1995) is the most recent of Stevenson’s workbench are the children’s folksong. The resultant abundance of of conflicting dichotomy running through Stevenson’s Purcell transcriptions and is pieces entitled Two Music Portraits from 1965 melody throughout the Stevenson œuvre is Stevenson, for these two masters (at one based on the final movement of Purcell’s (Valse Charlot and Valse Garbo) which were there for everyone to savour. time teacher and pupil in Berlin) shared 6th Suite in D major for harpsichord. The originally intended as a musical equivalent At first glance there may appear, an interest in ethnomusicology as well as composer has written “This hornpipe of ‘cigarette cards of famous film stars’. however, to be an apparent contradiction a life-long freedom of separation between suggests to the present transcriber the Valse Charlot is restrained, graceful and running through the corpus of piano ‘transcription’ and so called ‘original’ melodic type of a London street song ... elegantly poised, with fastidious articulation pieces, as blatantly populist trifles such as composition in their own, quite different, Purcell’s song Bess of Bedlam provides and dignified rests. Valse Garbo is much the Rigoletto Rag (after Liszt’s ‘Rigoletto’ music. evidence that he was aware of, and more soulful. Beginning in the evocatively paraphrase) sit side by side with such lofty Perhaps this is the single most important influenced by, popular balladry, for its music resonant tenor register of the instrument, offerings as the fiendishly uncompromising key to unlocking the wonder of Stevenson’s was in part inspired by the ballad Tom of it coaxes and expands the melodic material Motus Perpetuus (?) Temporibus Fatalibus, musical paradise: his extraordinary ability to Bedlam ... The by now démodé bias against towards the climax (with individual melody (complete with Herculean bravura, rise above the curation of manuscripts and the art of transcription should disappear notes marked ‘I want to be alone’) in the a note row and cryptograms of the embrace our entire musical legacy (whether vis-à-vis the case of Purcell himself, for final six bars. names Busoni, Shostakovich, Bach and it be a folksong, symphony or whatever) Schoenberg). Nevertheless, Stevenson is an his D minor Hornpipe was a harpsichord Disc 3 concludes with one of the most as part of an enormous and ongoing all-encompassing ‘epic’ artist, a composer arrangement of a dance from his theatre striking of all Stevenson’s transcriptions, creative process which can be commented Three Elizabethan Pieces after John Bull, who according to his biographer Malcolm music to The Married Beau (1693). on, revised, re-revised, and re-explored Last but by no means least from completed in 1950 at the age of 22. The MacDonald strives for the “gigantic bear- continuously for further illumination and Stevenson’s Purcell collection comes The writing here is extremely persuasive and hug, attempting to sweep everything up beauty. Queen’s Dolour (A farewell) from 1959, generously laid out in the grand, orchestral in a single idealistic embrace of shared which was also later arranged for solo manner. The influences of Stokowski’s humanity”. Much of Stevenson’s output stems guitar. Though barely a dozen bars in length orchestral Bach arrangements and the If we sense the influence of Busoni directly from re-arrangement and the expansive expressive mood created Bach-Busoni Chaconne are easily sensed via erudition, counterpoint, vision and transcription of pieces which have by Stevenson makes a beautiful impact in with regard to the massive chordal writing, pianism in Stevenson, then we can also profoundly moved him as an artist, and this performance, and a remarkable one at that but there is also much that is memorable sense the immense debt he owes to Percy new series of three discs most certainly since the original Purcell consists of only individual on a smaller scale too, with Grainger via the extrovert, open-aired, shows this. two parts with Spartan ornamentation. As deliciously effervescent double thirds in the the composer has written, the transcription Pavan and Galliard, as well as ‘music box’ is “arranged in my language in an (almost) trills and thrilling repeated notes in the 18 7 Tracks 5-11 present all of the known and respectful and newly individual; traditional CD 1 completed Stevenson Purcell transcriptions, and exploratory (!!) musicological (heu!!!) and they make for a substantial and strikingly and inventive – Yes!’ The first section seems varied group. Three Grounds dates in to recall the opening flourishes of the C If we reject, as too superficial, the standard movements concentrate in turn on each of revised form from 1995 and takes a quasi- major Bach-Busoni organ Toccata, whilst the distinctions between transcription and these genres. orchestral basis as the springboard for figurations in the fugato that follows seem free composition, one comes close to We begin on disc 1 with a Bach intense expressivity, elegant pianism and close to the contrapuntal textures in the understanding Stevenson’s outstanding transcription made on Busoni’s birthday, 1 contrapuntal textures. A glimpse at the Bach-Busoni D minor Toccata. The overall corpus of music. Of course individual pieces April in 1991. However, Komm, süsser Tod, skill involved in arranging string music so structure is similar to that adopted by Bach vary enormously both in terms of approach BWV 478 is a touching homage to another carefully for solo piano is afforded at the in his harpsichord toccatas, though of course and in terms of style. It is as though past master in the art of ‘hyphenated Bach’, end of the first ground, where the quartet it was Frescobaldi who was the real pioneer Stevenson’s music as a whole becomes the great conductor Leopold Stokowski. texture of the final two bars is reproduced in developing keyboard toccatas as a genre a kind of meeting place for kindred and Stokowski gave personal encouragement in Stevenson’s own distinctive handwriting that indicated a large scale form. diverse spirits. to Stevenson after his completion of the as a footnote. Little Jazz Variations on Purcell’s ‘New One can never be sure of just how Passacaglia, and this relatively modest For the second ground the composer Scotch Tune’ originally dates from 1964, substantial or slight the Stevenson treatment curtain raiser is certainly influenced by the writes: “The source of the second ground is (when it was entitled ‘Simple’ rather than will be (some compositions fit comfortably unparalleled lusciousness and extravagance the St. Cecilia Ode Here the deities approve ‘Little Jazz’ Variations...) but in 1975 three onto the back of postcards whilst others take of Stokowski’s unique and deliciously (1683) which Purcell arranged in E minor more variations and the current title were well over an hour to play). At one end of the romantic orchestral Bach extravaganzas. for harpsichord in Musick’s Handmaid Part 2 added at Louis Kentner’s instigation. The influence of late Busoni is more spectrum, some Stevenson ‘commentaries’ (1689), both in E minor, which for pianistic Further revisions were made for the printed clearly evident in Prelude and Chorale reasons, is transposed to E flat minor in are practical, rather literal re-arrangements publication of the piece in 1995. Charm (an Easter offering) where the art of the present edition.” Though the third of pre-existing material into new contexts, and carefree abandon are characteristics whilst at the other extreme, some adopt understatement via concentration and ground was originally transposed in D minor of this delightfully slight occasional piece. decorative figurations and variations so compression both of motivic development back in 1958, its recasting here in C minor The swinging melodic thread on which the sophisticated on first acquaintance that it is and in terms of pianistic layout is most makes for heightened intensity, with more rather difficult to see relationships with the impressive. Written for either piano or organ lugubrious colours. five variations are based encourages foot- ‘originals’ at all! Therein lies a major point, and possibly inspired on a subconscious The Purcell Toccata is a substantial work tapping and humming, and in the variations namely that in Stevenson’s universe there level by the deeply moving and exquisite in five sections that certainly offers ample that follow the ghost of Gershwin never really is no difference in approach between sonorities in Busoni’s fourth sonatina In diem opportunity for pianistic display. Dating seems far away. Variation 3, ‘Blues’, also free composition, transcription and Nativitatis Christi MCMXVII this is music from 1955, though ‘slightly retouched’, recalls music from the ‘America’ section variation. We will see this most forcefully that lingers long in the memory. Here in Stevenson’s view it is ‘a very fine of Stevenson’s second concerto ‘The in Le festin d’Alkan (CD 2) where the three Stevenson is able to capture a spiritual transcription (self-critique!) which is both Continents’, and the quiet serenity of the 8 17 serenity, melancholy and beauty through produced his own L’Art nouveau du chant CD 3 restraint. The Prelude was completed on appliqué au piano. Evidently there are 1 February 1978 but the chorale originally in existence at least twenty-five pieces dates from some thirty years earlier. The written by Stevenson specifically for this The third disc begins with two Mozart Melody on a ground of Glazunov was two miniatures were ‘hand-writ’ together in ‘anthology of song’. They come from more transcriptions that lie at the more practical, completed in 1970 and also exists in a Magden on 27 February 1978. relaxed corners of the repertoire than one literal end of the Stevensonian universe. version for violin and piano. The music is (1812-71) was one might expect, and their popularity, melodic Mozart’s Fantasy for mechanical organ, K608 based on a theme from Glazunov’s Prelude- of the most celebrated composer-pianists memorability and beauty is always lovingly was famously arranged by Busoni for two Improvisation, also known as Poème- of the 19th century. Those who remember embraced by Stevenson with the utmost pianos and performed by the composer Improvisation (1918) which is extended in him only for virtuosity and mastery of the sincerity, care and devotion. In 1998 five with Egon Petri at the Bechstein (now wistful, wave-like phrases that meander so-called ‘third-hand’ effect evident in many of these pieces were published by the Wigmore) Hall in London in the 1920s. In poetically over the middle range of the an operatic paraphrase will be pleasantly Ronald Stevenson Society as volume one 1952 Stevenson produced this ingenious, keyboard in 45 bars. This is a quietly eloquent surprised by his Op. 70 set of transcriptions, in the series, with volume two including sonorous version for piano solo. It stays bagatelle that exploits effectively some of written in 1853 and entitled ‘L’Art nouveau four more items appearing in 2002. The extremely loyal to the Busoni transcription the possibilities afforded by superimposing du chant appliqué au piano’. Thalberg’s nine transcriptions make a beautiful, if yet miraculously never sounds over-loaded and juxtaposing perfect fourths harmonically accompanying performance notes to his Op. diverse and contrasted selection, and are all in terms of texture. As homage it is tempting and melodically. 70 anthology evidently inspired Stevenson included here. to take the ‘bedfellow’ piece which Busoni Ricordanza di San Romerio dates from greatly, and deserves to be quoted here: Samuel Coleridge-Taylor’s Elëanore, also arranged for two pianos (the finale of 1987. Though only lasting a few minutes “For simple tender melodies the keyboard subtitled as an ‘étude in the art of bel-canto Mozart’s Concerto in F, K459) and produce in terms of duration, its sonic beauty, should be kneaded as it were with a boneless piano-playing’, transcribed in June 1980 one’s own solo transcription to follow on haunting evocation of an ancient plainchant hand and fingers of velvet: the keys must be and dedicated to the composer’s ever- with minimum break from Stevenson’s solo and remarkable tremolandi make for a felt rather than struck”. faithful wife Marjorie (“my Elëanore”), is arrangement! striking impression. Ricordanza (literally Thalberg’s cycle contains some twenty- passionately delineated in the radiant key of translated as ‘souvenir’) brings to mind The Mozart-Stevenson Romanze that four transcriptions from an impressive range D flat major. The placement of the melodic the famous transcendental étude of Liszt. follows was completed in 2002 and is also of composers including Bellini, Pergolesi, line in the tenor register for the most part The monastery of San Romerio (founded a fairly literal arrangement of the K466 D Beethoven, Meyerbeer, Mozart and Weber. makes for a spine-tingling sense of eroticism originally as ‘San Remigio’ before 1055) minor Piano Concerto’s slow movement, Here Thalberg branches away from his that vividly captures sexual longing and is situated above the Poschiavo valley in though the central double octaves take earlier bravura style of composition and desire. Switzerland, so Stevenson’s subtitle ‘A the music into a different sphere, and the produces music that values cantabile and Maude Valérie White’s So we’ll go no sensitive appoggiatura decorations when the pilgrimage for piano’ also reminds one of parlando above all other considerations. more a-roving was arranged a month later opening section returns thereafter are novel Liszt’s Années de Pélerinage and ‘Suisse’, in As an homage to Thalberg’s remarkable than Elëanore and is in total contrast. Its and beautifully ‘original’. particular, the first volume of the series. cycle of transcriptions, Stevenson has reserved, wistful elegance and charm 16 9 beguiles and entices the listener through imagination, energy, enthusiasm and a deep movement where Stevenson’s transcription connotations with the Grieg Piano Concerto exquisite colouring and voicing. Note the understanding of the technical resources comes into its own. Here we have textures (a work Grainger championed) as well as quasi orchestral figurations and sonorities in available to command. and figurations so natural that the original being directly related through the interval the central Più mosso, risoluto section. The Volume two of L’Art nouveau begins Ysaÿe is temporarily forgotten. Indeed at the of a fourth to the ‘Ella’ motif. Written from Romance Plus blanche que la plus blanche with an arrangement of Ivor Novello’s Fly conclusion of this movement the transcriber 1976-9 and marked con passion repressa, its hermine from Meyerbeer’s ‘Les Hugenots’ home little heart made on 4 December wrote on his manuscript “This is proof of structure develops in the main through the was penned by Stevenson on 7-8 May 1987 1983 of which Stevenson writes “The what I have learnt from Bach, Busoni and use of the ‘Ella’ motif as a basso ostinato. and is by far the most substantial of the nine verse is transcribed as an arpeggio-study Godowsky”. Note the impressive canonic imitation and published transcriptions in terms of length. with a Delian ‘bir’-motive thrown in. The ‘Obsession’, Ysaÿe’s second sonata, beautiful simplicity in the central G sharp Beginning with a remarkable eighteen bar chorus is transcribed as a Graingeresque quotes extensively from the opening motif minor episode which acts as a foil to the solo for the left hand alone, the transcription study in sonority. What a beautiful melody of Bach’s E major Partita and the Dies Irae complexities evident in the outer sections. unfolds with majesty and breadth – as well as is this chorus! It consists of the purest open plainchant. As in the first sonata, Stevenson’s The Canonic Caprice on ‘The Bat’ some welcome frivolity, sparkle and mirth. intervals: octave, fifth, fourth, second and tonal palette is arresting, original and sounds concludes the second disc. This contrapuntal Volume one continues with an third; seldom a sixth, never a seventh. It is effortless and natural in keyboard layout. homage to Moritz Rosenthal and his arrangement of Sergei Rachmaninov’s In a pure landscape of melody: a masterpiece.” Though the sounds of the organ permeate celebrated Carnaval de Vienne of 1925 may the silent night, arguably one of the most The emotional core of volume two this work too, there is also a sense of the be a miniature, but it is unquestionably beautiful, natural and haunting transcriptions appears in Stevenson’s arrangement from orchestral, as well as of an outsized fiddle one of the most technically demanding of a song ever penned. Dating from 18 May 1980 of Novello’s celebrated We’ll gather at play. This seems highly appropriate as works in the Stevenson œuvre. Completed 1982 and dedicated once more to Marjorie, lilacs. The melodic line and counter- contemporary accounts of Ysaÿe’s own in 1967, I gave its first performance in it shows Stevenson’s understanding of melody are lovingly adorned with filigree performance frequently stress the enormity, 2002 in Manchester. Following 28 bars of accompanimental textures reminiscent pianism at its most impressive. Frank power and dynamism of his approach. A canon between the hands it ventures into Bridge’s Go not, happy day, transcribed in of florid writing perhaps most readily ‘larger than life’ transcription for a historical double note territory for further imitative June 1980 and “dedicated to the evergreen associated with the music of Leopold figure who was most certainly bigger than counterpoint, first with double thirds, then memory of Ben Britten and Kate Ferrier” Godowsky. Certainly the exotic key of F other violinists in every sense! concludes volume one with effervescence, sharp major and the hushed dynamic range Norse Elegy was written in memory (most unusually) with perfect fifths then in optimism and joy. This is a blatantly crowd- chosen and sustained for the most part of Ella Nygaard, wife of Percy Grainger’s sixths and fourths. A central fantasia brings pleasing essay in bravura that shows how throughout produces a special intimacy and Norwegian-American Surgeon Kaare K. five bars of reflection before the canonic closely Stevenson has studied the art of song tonal palette that draws one in toward the Nygaard, and is based on the musical texture returns in minor sevenths and finally transcription as seen in particular through very essence of Novello’s extraordinary spelling of her first name (‘Ella’ giving the major seconds – the latter after a charming the works of Franz Liszt. Both Liszt and song. The cycle finishes with the easiest work its germinal motif through the notes non-contrapuntal appearance of Strauss’s Stevenson prove that anything is possible on arrangements in terms of technical difficulty E-A-A-A). Also prominent is the descending celebrated theme with a lilting left hand the piano – provided you have superhuman – music not beyond the abilities of relatively motif ‘A-A-G sharp-E’ which of course has waltz accompaniment. 10 15 enormous hands and confidence with thunder out dissonances from the first modest players – though the charm and This is given full textbook fugal treatment, outsized leaps are necessities here for the movement and the work explodes into the craftsmanship on display remains as acute as complete with Busonian craftsmanship performer as Stevenson’s ‘transcription’ abyss. ever. Demande et réponse from Coleridge- and erudition via eloquent pianistic layouts makes extensive use of tenths throughout. The great Belgian violin virtuoso Eugène Taylor dates from 18 August 1981 and is and exhaustive permutations of double In the trios quotations from Scarlatti and Ysaÿe’s six sonatas for unaccompanied presented as a ‘miniature waltz in canon- note figurations. Yet there is something Paganini refer to music that Alkan himself violin were composed in 1923-4 and stand form’, whilst Sigmund Romberg’s Will you distinctly joyful, mischievous even, about used to play. The return of the Barcarolle as an extraordinary testament for string remember from ‘May-time’ is also a canonic the relentless contrapuntal display, and for the final section utilizes symmetrical players. Stevenson transcribed all six sonatas waltz, dating from 1980. with the finalTarantella metamorphosis, counterpoint pioneered by Bernhard Ziehn in an extraordinary period of energetic By way of contrast, the first of the Graingeresque abandon and vivacity so that the music appears in transformed endeavour from November 1981 to January Stevenson’s Three Scottish Ballads, ‘Lord which is sensed beneath the surface light before a brief coda makes reference to 1982, regarding his achievement as one of Randal’ makes a powerful impact. Written in earlier on really comes to the forefront. A Dallapiccola and his Sonatine canonica. the greatest importance to his development. 1973 and dedicated to Allie Munro, it takes remarkable achievement from the 21-year- The third movement, ‘free multiple The first two Ysaÿe sonatas are presented a sixteen bar verse and presents it five times old composer. variations’, is the most substantial and here. In both, one marvels at the easy in contrasted textures and keys, concluding The six Penseés sur des Préludes de complex in the work. It is literally pasted fluidity with which the music sits at the with an ominous, stark coda of eight bars. Chopin are darker and more ominous with quotations and references to the dead keyboard. In order to achieve this natural, CD1 concludes with the complete set in tone. Written in 1959, the work was and past works, making it something of a idiomatic layout Stevenson has, of course, of Stevenson’s Chopin transcriptions and first performed at the Edinburgh Society musical museum perhaps – were it not for had to enrich and expand on textures in the paraphrases. Clearly the 53 Studies based on of Musicians in 1992 by the dedicatee, the fact that the music is so innovative and original. Chopin Etudes of Leopold Godowsky have Harold Taylor. Each movement is prefaced novel in its approach. With three cadenzas It is fascinating to study on a bar-by-bar had an enormous influence on Stevenson with a quotation from Pascal’s ‘Penseés’: and much episodic writing there is certainly basis the way in which Stevenson has worked, as both a composer and pianist. This can Movement one, ‘notre nature est dans le an improvisatory feel to this music. In and he has compared his endeavours in be seen in all of the Chopin works on this movement…’ combines Chopin’s C minor addition to Le festin d’Esope (presented in particular to the work that Godowsky did in recording, though Stevenson also manages and C major Préludes. Movement two, ‘…le transformed guise for the most part but his, still under-performed, transcriptions of to exude more of a blatant extrovert, répos entire est la mort’ mixes the A minor eventually ‘exposed’ in direct presentation) Bach. Ysaÿe’s first sonata in G minor in many humorous spirit, a quasi-Graingeresque Prélude with the dotted rhythm motif from the 8th Prélude from Op. 31 La chanson de ways pays homage to Bach’s violin sonata streak, that makes these commentaries the ‘winter wind’ A minor Étude before la folle au bord de la plage is also quoted. The in the same key. Stevenson’s arrangement in sound so much more than mere continuing with the E major Prélude as well. work concludes with a poignant reference certainly emphasises and confirms the organ Godowskian imitations. From 1949 comes Movement three, ‘Nature diversifie et imité, to Schubert’s ‘Death and the Maiden’ string inspired sonorities of the original, amplifying an 8-minute long Fugue on a fragment of artifice imité et diversifie’ elegantly connects quartet, a musical masterstroke that seems and extending Ysaÿe’s implications in the Chopin, written to commemorate the the two ‘Mazurka’ Prélude, in A major and to bring the work to a quietly ominous outer movements into a glorious display centenary of Chopin’s death and based on C sharp minor, before we have a more conclusion. However the final three bars of pianism. But it is in the second, fugal the main motif from the F minor Ballade. ominous mixture of the Préludes in D flat and 14 11 B major in movement four, ‘Le cœur a ses is a delightful trifle penned when the whilst movement two shows Chopin’s Op. Strauss waltzes. In his innovative approach raisons, que la raison me connaît point; on le composer was only 22 and based on the 42, the famous so-called ‘2/4’ Waltz as a left to pianism and contrapuntal wizardry, sait en mille choses’. famous secondary theme from Chopin’s hand only study. Movement three combines Stevenson is able to emulate something Movement five is adorned by the text posthumous C sharp minor waltz. The both waltzes in a festive and sparkling of this effervescence, bringing new found ‘Guerre intestine de l’homme entre la raison sixteen bar period is presented in five display. ‘Champagne from Heaven’ was excitement and colours into the virtuoso et les passions. S’il n’avait que la raison sans variations – as an octave étude, an extended how Bruno Walter once described Johann repertoire. passions… S’il n’avait que les passions sans arpeggio study for both hands, a cascading raison… Mais ayant l’un et l’autre, il ne peut right hand arpeggio étude, a scampering CD 2 -être sans guerre’. As well as being the semiquaver mixture divided between the most extensive piece in the cycle it is also hands, and finally as a left hand octave essay. Le festin d’Alkan is Stevenson’s most variation on Alkan’s Barcarolle in G minor. the most taxing to play technically. Beginning Etudette d’après Korsakov et Chopin recent major composition for piano; it was There are two trios which vary quotations with an innovative combination of the E flat (‘Spectre d’Alkan’) was completed in 1987 completed after nine years of work in 1997 from Alkan and other composers. The minor and (transposed) G minor Prelude, and first performed by myself on BBC Radio and first performed by Marc-André Hamelin finale is in free variation form. The famous it expands and introduces the finale of the Three the following year. Beginning as an in London the following year. Commissioned Le festin d’Esope is quoted (very freely) only B flat minor ‘funeral march’ sonata into the arrangement of Korsakov’s ‘Bumblebee’ by Peter Hick for the centenary of Alkan’s in the finale. This movement contains three mix, revealing a plethora of contrapuntal for the left hand alone, eventually the other death in 1988, Stevenson’s title is a reminder cadenzas: one for each hand alone, then for connections and possibilities in the process. hand joins in with Chopin’s A minor Étude of Alkan’s set of variations Le festin d’Esope both hands.” The cycle could have easily chosen to Op. 10 no. 2, producing an extraordinary (this is quoted in the third movement) and ‘Free composition’, the first movement, finish with movement five’s excitement cocktail made all the more convincing by the work’s subtitle ‘petit concert for piano has twenty-one pages which fly forward and athleticism, but Stevenson elevates the virtue of the fact that the chromatic ascents solo without orchestra’ brings Alkan to mind at a mercurial pace. It contains technically work in cyclical form by returning to the and descents of each famous piece have too (both Alkan and Schumann wrote works ferocious passages that require huge combination of Préludes featured in the a tendency to ‘mirror’ each other. This subtitled ‘concerto without orchestra’, and stretches and rapid leaps. The movement is first movement, presenting the C minor and results in a great deal of contrary motion Alkan’s performances from 1873 at the Salle divided into ‘tutti’ and ‘solo’ passages and is major preludes this time round with more and an extraordinary visual display in live Erard were billed as ‘petits concerts de uncompromising in its use of dissonance. Its weighted, magisterial and sonorous textures. performance. Little wonder the composer musique classique’). rhythmic drive is unyielding and fearful for ‘La dernière chose qu’on trouve en faisant Stevenson mentions Alkan in his subtitle to The composer’s own programme notes the most part, leading to much excitement un ouvrage, est de savoir qu’il faut metre la the piece! Finally we have a Godowskian mention that the work’s “three movements and transcendental virtuosity. It makes a première’ is the final quotation from Pascal. triptych in which Chopin’s A flat Waltzes Op. encapsulate my idea that composition, deeply disturbing, powerful impact on the The work finishes quietly, almost tragically, 34 no. 1 and Op. 42 are firstly presented transcription and variation are all essentially listener. Alkan’s Barcarolle, Op. 65 no. 6 is but with a real sense of repose and pensive independently in new guise then combined. the same thing. The first movement is transformed in the second movement, ‘free consideration. The first movement presents Op. 34 no. free composition, with no quotes (as far transcription’, into an extraordinary musical Variations-Study on a Chopin Waltz 1 in an arrangement for right hand alone as I know!). The second movement is free commentary. As in the first movement, 12 13