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tableau of Petrouchka (1910-11). Tchaikovsky bicentenary, they decided to accept the much greater TCHAIKOVSKY employed Under the Green Apple Tree (2.44) as almost challenge of performing the vast quantity FOR FOUR HANDS an idée fixe in the finale of the Serenade for string of music written by Schubert specifically for four hands orchestra, while At the Gates [7] (0.01) appears as a at one piano. This they first did in 1993 - and have since GOLDSTONE & CLEMMOW subsidiary theme in his contemporaneous Overture: The repeated several times - in a mammoth cycle of seven Year 1812. We round off our group with the imposing concerts, which in its completeness (including works number commonly known as the Volga Boat Song. not found in the collected edition) and original recital Pyotr Il'yich Tchaikovsky (1840-1893) Notes © Goldstone and Clemmow 2002 format was probably a world first. The Musical Times wrote of this venture: “The Goldstone/Clemmow Symphony No. 4 in F minor, Op. 36 (39:43) GOLDSTONE & CLEMMOW performances invited one superlative after another.” The complete cycle (as a rare bonus including as encores Transcription by Sergei Taneyev (1856-1915) With CDs numbering twenty-three and a busy concert Schumann’s eight Schubert-inspired Polonaises) is Andante sostenuto - Moderato con anima 17:25 schedule, the British piano duo Goldstone and Clemmow available on seven CDs. “Haunted with the spirit of Andantino in modo di canzona 8:07 is firmly established as a leading force. Schubert” - Luister, The Netherlands. Described by Gramophone as “a dazzling husband and

Scherzo: Allegro 5:11 wife team”, internationally known artists Anthony Finale: Allegro con fuoco 8:46 Goldstone and Caroline Clemmow formed their duo in Recorded with the generous assistance of 1984 and married in 1989. Their extremely diverse Geoffrey Walters activities in two-piano and piano-duet recitals and double Recorded in St. John the Baptist Church, Alkborough, Romeo and Juliet - Overture-Fantasia after Shakespeare 19:57 concertos, taking in major festivals, have sent them all North Lincolnshire, England Transcription by Nadezhda Purgold (Mme. Rimsky-Korsakov) (1848-1919) over the British Isles as well as to Europe, the Middle East and several times to the U.S.A., where they have A Maxim digital recording Piano technician: Philip Kennedy received standing ovations and such press accolades as Sixteen from Fifty Russian Folk-Songs (8:55) 2002 Goldstone & Clemmow “revelations such as this are rare in the concert hall these Nos. 12 Rage Not, Wild Winds; 47 There Vanya Sat; 19 Yestereve I was Young at the days” (Charleston Post and Courier). In their refreshingly Issued under exclusive licence by Divine Art Ltd Feast; 23 A Duck Swam on the Sea; 13 At Sunrise, at Dawn; 42 Under the Green Apple presented concerts they mix famous masterpieces and Full catalogue at www.divine-art.com Tree; 17 Master Andrei's Capers; 34 Jolly Katya; 32 Ivanyushka Sports his Coat 4:38 fascinating rarities, which they frequently unearth Tel: 01609 882062 E-mail: [email protected] Nos. 48 At the Gates; 10 The Boat Draws Near; 18 Oh, the Duck in the Meadow; 33 In themselves, into absorbing and hugely entertaining the Willow Grove; 31 No Thanks, Father, to You; 27 Over the Dark Blue Sea; 49 The programmes; their numerous B.B.C. broadcasts have WARNING: Copyright subsists in all recordings issued under this label. Any unauthorised broadcasting, public performance, copying Barge Haulers (Volga Boat Song) 4:17 often included first hearings of unjustly neglected works, or re-recording thereof in any manner whatsoever will constitute and their equally enterprising and acclaimed commercial an infringement of such copyright. In the United Kingdom, licences for the use of recordings for public performance may be obtained recordings include many world premières. from Phonographic Performance Ltd, 1, Upper James Street, Total playing time: 69:03 Having presented the complete duets of Mozart for the London W1R 3HG. [2] [7]

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version of his Second Symphony (although illness imperceptibly, à la Schubert and Liszt, into the Benjamin Britten on transcriptions: “It doesn’t affect significance of the sometimes febrile Fourth (1887- prevented her from doing so), and she published recapitulation, in which the love music, besieged by the original work - it just makes a new one... I support 8), which could be subtitled Fate and was born out of duet versions of both the 1870 revision of Romeo and violence, assumes increasing passion and desperation. the idea of transcription against many who think it a most turbulent period for the composer. Though Juliet and the final version of 1880, which is recorded Fighting continues until a drum roll dies away to reveal inartistic ... you can only judge by the value of the homosexual, during the writing of it he foolishly entered here [5]. a funereal procession accompanied by fragments of the transcription.” into a disastrous marriage with an unstable woman lovers’ theme; now the tragic consequence of the whom he hardly knew; this led to his collapse, a suicide It was Balakirev, the leading light of the “Mighty families’ feud is brought home to them with terrifying There could be no stronger candidate for authenticity attempt, and a final separation within weeks. Handful” of five nationalist composers (from whom “hammer blows” whose rhythm recalls their own warlike in a piano transcription of Tchaikovsky’s Fourth Tchaikovsky differed by dint of his more music, followed by a final low unison like a descent Symphony than Sergei Taneyev - on three counts in We are fortunate that the composer wrote to his recently “western” leanings), who in 1869 suggested into the abyss. particular. First, he was imbued with the master’s work acquired patroness and admirer Nadezhda von Meck Shakespeare’s Romeo and Juliet to him as a subject methods, having become his composition student at (whom he never met face to face) of the for what became in essence a symphonic poem. Being In 1868 and 1869 Tchaikovsky was commissioned by the Moscow Conservatory in his early teens. Second, emotions that had inspired the composition, though a controlling character he even sent him a musical- the publisher Jurgenson to arrange fifty Russian folk- his prowess as a pianistic interpreter of Tchaikovsky naturally an organised work of art can mirror life only dramatic template for a work which eventually turned songs for piano duet. Considering the period, and the is demonstrated by the fact that he was entrusted with partially: as he said in the post script, “I out to have a gestation period, from its first version four-hand medium specified, the result could be said the Moscow première of the solo part in his First Piano was terribly depressed last winter when I was (1869) to its far superior third and final form, of eleven to demonstrate quite a forward-thinking approach to Concerto when just nineteen, and later gave the composing this symphony, and it serves as a true echo years. the task, anticipating Bartók in the sense that European première of the Second Concerto and the of what I was going through at that time. But it is Tchaikovsky basically stated and documented, rather very first performances of the other concerted works merely an echo. How can it be translated into clear The work is in the form of a sonata-allegro, with a than developing and prettifying, the melodies (most of with piano. Last, in his unique position as a and defined verbal forms?... I do not know how to.” slow introduction (whose material, having been stated, which had appeared in collections set for voice and trusted friend who was even invited to criticise, he had Also it must be borne in mind that the work was is repeated a semitone lower) and coda. In this case piano by Villebois and Balakirev), while at the same a fascinating correspondence, to which we shall return obliquely dedicated to Mme. von Meck (“To My Best also, Tchaikovsky was spurred by the idea of inevitable time making them accessible to music lovers - long later, with the great man in connection with this Friend”) and it was in the composer’s interest to flatter fate to create a masterpiece. Friar Laurence is depicted before the advent of the phonograph, of course. Endings symphony. Taneyev in his turn became a fine and his wealthy sponsor by sharing his intimate feelings at the outset by a solemn religious chant, but then can be sudden and abrupt. We have chosen a sequence prolific composer, though, because he lacked with her thus: “In our symphony there is a programme tension mounts, materialising in the stabbing, furiously of sixteen, some of which the listener is likely to Tchaikovsky’s gift for memorable melody, his works - i.e. it is possible to express in words what it is trying syncopated main theme representing the warring of recognise from their use in popular Russian works. have mainly fallen by the wayside. He taught to say, and to you, and only to you, I am able and the Montagues and Capulets. The contrasting second Rachmaninov and Scriabin among many others. willing to explain the meaning both of the whole and subject group, containing the hauntingly tender theme There Vanya Sat [6] (0.39), the only song that of the separate movements.” of the star-crossed lovers, is largely what has made the Tchaikovsky himself collected, became in 1871 the Tchaikovsky wrote six numbered symphonies in the work one of music’s greatest “hits”: it comes from the main subject of the Andante cantabile movement of period 1866-1893, as well as an unfinished example in The following is taken from Tchaikovsky’s letter to heart and remains long in the memory. The scurrying his First String Quartet - at which Tolstoy dissolved 1892 and the “Manfred” Symphony (1885), which, her, with track and timing references to this recording. development reaches its climax with a screaming in tears, much to the pleasure of the composer! Then while based loosely on Byron’s poetic drama of doomed “The introduction [1] is the seed of the whole declamation of the Friar Laurence theme, merging follows (1.13) a melody used by Stravinsky in the final love, does not have the highly personal and specific symphony, undoubtedly the main idea [0.01, a doom- [6] [3]

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laden fanfare - an extension of “fate knocking at the “The symphony’s second movement [2] expresses the wild excitement even more.] Tchaikovsky was grateful for his friend’s honesty, door” in Beethoven’s Fifth Symphony]. This is fate, another phase of depression. This is that melancholy and was moved to reply in this way: “Maybe you this is that fateful force which prevents the impulse to feeling which comes in the evening when, weary from “The fourth movement [4]. If within yourself you find are quite right, but all the same I do not comprehend happiness from attaining its goal, which jealously your labour, you are sitting alone, you take a book - no reasons for joy, look at others. Go among the people. why a dance tune may not appear occasionally in a ensures that peace and happiness shall not be complete but it falls from your hand. There comes a whole host Observe how they can enjoy themselves, surrendering symphony... I’ll cite Beethoven, who resorted to this and unclouded, which hangs above your head like the of memories. It is both sad that so much is now past themselves wholeheartedly to joyful feelings. A picture effect more than once... As for your observation that sword of Damocles, and unwaveringly, constantly and gone, yet pleasant to recall your youth. You both of festive merriment of the people. Hardly have you my symphony is programmatic, I completely agree poisons the soul. It is invincible, and you will never regret the past, yet do not wish to begin your life again. managed to forget yourself and to be carried away by ... but this programme cannot be formulated in words overcome it. You can only reconcile yourself to it, and Life has wearied you. It is pleasant to rest and look the spectacle of others’ joys, than irrepressible [interesting in the light of his letter to his patron!]. languish fruitlessly [1.21, the unquiet first subject, in around. You remembered [sic] much. There were happy fate again appears [5.39] and reminds you of yourself. In essence my symphony imitates Beethoven’s Fifth. a distorted waltz rhythm]. The cheerless and hopeless moments when the young blood boiled, and life was But others do not care about you. They have not even There is not a note ... which I did not feel deeply.” feeling grows yet stronger and more burning. Is it not satisfying. There were also painful moments, irreparable turned around, they have not glanced at you, and they Whatever the pronouncement of critics this better to turn away from reality and submerge yourself losses. All this is now somewhere far distant. It’s both have not noticed that you are solitary and sad. Oh, how compelling work has remained a firm favourite with in day-dreams? [4.44, the wistful and sighing second sad, yet somehow sweet to immerse yourself in the they are enjoying themselves, how happy they are that audiences. subject] past. all their feelings are simple and direct. You have only yourself to blame; do not say that everything in Nikolai Rimsky-Korsakov was luckier in love than “Oh joy! There appears, at the very least, a sweet and “The third movement [3, with its famous pizzicato this world is sad. There are simple but strong joys. Tchaikovsky. In 1872, when twenty-eight years old, gentle day-dream. Some blissful, radiant human image outer sections,] expresses no definite feeling. It is made Rejoice in others’ rejoicing. To live is still possible!” he married the twenty-four-year-old Nadezhda Purgold, hurries by and beckons you away [5.59, a motif taken up of capricious arabesques, of the elusive with whom he had a family and enjoyed twenty-six up again in 1880 in the Valse of the Serenade for string images which rush past in the imagination when you After the first performance, when pressed, Taneyev years of companionship until his death. Beautiful and orchestra]. How good this is! How distant now sounds have drunk a little wine and experience the first stage candidly wrote his views on the symphony to its from a cultured family, she was a fine pianist and also the obsessive first theme of the Allegro. Day-dreams of intoxication. Your spirit is neither cheerful nor yet composer, some salient points being: “Although there a composer, better trained than her husband (she studied little by little envelop the soul completely. Everything sad. You think of nothing; you give free rein to your are some superb bits in it ... the first movement is with Tchaikovsky’s teacher Zaremba); according to gloomy, joyless is forgotten. There she is, there she is imagination - and for some reason it began [sic] to disproportionately long... The trumpet fanfares ... make Gerald Abraham, “next to Balakirev, who was just on - happiness! paint strange pictures. Among these you suddenly you think this is programme music. Nevertheless I like the eve of the breakdown which for years removed recalled a picture of drunken peasants and a street song the movement very much... The Andantino is him from Russian musical life, Nadezhda was the chief “No! These were day-dreams, and fate wakes you from ... Next, somewhere in the distance, a military exceedingly nice... The scherzo is excellent; I don’t formative influence in [Rimsky’s] life”. The Clara them [8.28]. Thus all life is an unbroken alternation procession passed. This [movement is made up of] like the trio which is like a dance out of a ballet. I think Wieck to his Robert Schumann, in fact. of hard reality with swiftly passing dreams and visions these completely disjointed images which rush past in your variations on [the folk-song that forms the of happiness... No haven exists... Drift upon that sea your head when you have fallen asleep. They have subsidiary theme in the finale] too slight and She was expert in the art of transcribing large-scale until it engulfs and submerges you in its depths. That, nothing in common with reality; they are strange, wild, insufficiently interesting. One of this symphony’s works for four hands, doing so for Nikolai and others. roughly, is the programme of the first movement. and disjointed. [Taneyev, in the duet version, added failings ... is that in each movement there is something Tchaikovsky commended her highly to his poco stringendo and più mosso in the coda, heightening that recalls ballet music...” publisher Bessel with regard to arranging the early [4] [5]

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