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The Jazz Age For Piano Duo / Goldstone & Clemmow


Release Date: 01/11/2011 
Label:  Divine Art   Catalog #: 25089   Spars Code: DDD 
Composer:  George GershwinEdward Burlingame HillDarius MilhaudAlexander Moyzes,   ... 
Performer:  Caroline ClemmowAnthony Goldstone
Number of Discs: 1 
Recorded in: Stereo 
Length: 1 Hours 11 Mins. 

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Notes and Editorial Reviews



THE JAZZ AGE FOR PIANO DUO Anthony Goldstone, Caroline Clemmow (pn) DIVINE ART 25089 (70:43)


GERSHWIN An American in Paris. Embraceable You. HILL Jazz Studies. MILHAUD La Création du monde. MOYZES Jazz Sonata. SEIBER Easy Read more Dances. CARMICHAEL Stardust


I hesitated more than a few minutes before asking to review this CD, as I was not necessarily dying to hear duo-piano performances of such noted orchestral scores as An American in Paris and La Création du monde, but what tipped the scale for me was that one of the pianists is Anthony Goldstone, whose recording of Vladimir Rebikov’s piano music (Divine Art 25081) impressed me so favorably. I’m glad I chose it because the performances by Goldstone and his wife, Caroline Clemmow, are absolutely “right” in terms of rhythmic feeling and musical nuance. Yet more importantly, this recording says a lot—but not all—about the early cross-pollination of classical music and jazz, a crossbreed that flourished sporadically, almost spastically, one might say, over the next century.


We are so far removed from the Jazz Age that nearly everything we hear from it, the good and the bad, sounds rhythmically stiff and harmonically staid. Even by the late 1930s, the music had grown and evolved so much and so rapidly that a musician suddenly transported from 1922 to 1938—a span of only 16 years—would have difficulty understanding how it changed so much, so quickly. Yet also, by that time, only the famous Gershwin works ( Rhapsody in Blue/American in Paris/ Concerto in F) still survived as repertoire items, the remainder of Jazz Age hybrids being either forgotten or relegated to Europe until their resuscitation many years later.


The rhythm certainly has a lot to do with this. Early jazz, like Baroque music, was formulated as spirited and freewheeling inventions by the top-line instruments (or, in the case of a keyboard instrument, the right hand) while the ground bass (or left hand on a keyboard) generally, but not always, played a stiffly metronomic 4/4. In the case of the greatest pianists of the time, such as Jelly Roll Morton, Earl Hines, and (a little later) Art Tatum, the left hand played independent figures, often in cross rhythms, but with the basic pulse coming from ragtime and cakewalk music (think of Debussy’s Golliwog’s Cakewalk or Stravinsky’s Ragtime ), the primary function of the jazz musician was to weave around the stiff bass. It was not considered, at that time, either archaic or a detriment.


Yet because so many of these works were built around this sort of rhythm, it was only normal that they should sound dated. And it was, in part, because of this anachronistic rhythmic feel that the entire concept of jazz-classical fusion was scrapped, thrown aside, or considered to be in the category of the cutesy and precious—at least, until such innovators as Charles Mingus, Stan Kenton, and George Russell emerged in the late 1940s and took jazz and its classical connections to entirely new and different levels.


Goldstone and Clemmow give us a very good, if incomplete, view of this heady era and its musical products. Stravinsky’s experiments are mentioned, Milhaud is placed right alongside Gershwin, and, to my surprise and edification, they have unearthed some very interesting if lighter works by Edward Burlingame Hill (1872–1960), Alexander Moyzes (1906–84), and Mátyás Seiber (1905–60), each of whom embraced the jazz aesthetic from different perspectives. Hill was a pupil of composer-organist Charles-Marie Widor, Moyzes a pupil of his father, Mikulá?, and Dvo?ák pupil Vit?zslav Novák, and Seiber, both a student of Kodály and (in his mid-20s) director of the world’s first department of jazz studies at a major university, Frankfurt-am-Main. All of this activity goes to show how very seriously our “stepchild of the musical arts” was taken, even then, outside of America. Yet since they chose not to include any of their music, Goldstone and Clemmow left out a discussion of Ravel, whose string quartet and later piano concerto incorporated jazz; George Antheil, the expatriate American who composed an all-percussion, jazz-influenced score for the experimental film Ballet Mécanique; and John Alden Carpenter, who in 1922 wrote a wonderful little ballet based on the popular comic strip Krazy Kat, and who, in 1924—the same year Rhapsody in Blue premiered—wrote the greatest jazz-classical orchestral score of the 20s, Skyscrapers. Nor is it mentioned that, in one instance at least, the young, enthusiastic Milhaud was accidentally misled when collecting records of “genuine black jazz music” to base La Création du monde on. The late jazz clarinetist and archive collector Frank Powers proved this when he unearthed for Dave Brubeck—the famed jazz pianist who was also a pupil of Milhaud—a copy of one of the principal records Milhaud used as a basis for Création, “Aunt Hagar’s Children’s Blues” by “Ladd’s Black Aces.” Seeing the name, Milhaud was convinced they were a genuine African-American band, but in fact it was one of Sam Lanin’s many studio pseudonyms, a white band featuring reedman Doc Behrendsen and pianist Jimmy Durante! (I can just imagine Jimmy saying, the first time he heard this piece, “Whaddaya know! Everyone wants to get into the act!”)


As to the origin of the most famous pieces, this is Milhaud’s own arrangement of Création for piano four-hands and, with modifications, Gershwin’s own duo-piano arrangement of American in Paris. The modifications are these: Additional music deleted from the orchestral version is left out here, music from the final version is put in, and there’s a return to the original texture. The last two items, popular songs of the era by Gershwin ( Embraceable You ) and Hoagy Carmichael ( Stardust ), may indeed seem like light dessert, but these particular arrangements are highly inventive and sparkling. Overall, a highly recommended disc.


FANFARE: Lynn René Bayley


What an excellent idea; and what fine execution. And not only these two qualities, but a third one too – real listening pleasure. All these elements mean that this latest Goldstone-Clemmow release proves just as attractive as the preceding ones. It’s also very much worth noting that we apparently have a raft of first recordings of these particular piano duet performances; the Burlingame Hill, Milhaud, Seiber, and Carmichael.
 
Gershwin’s own two-piano score of An American in Paris was not published at the time – after his death a different version was published – and only appeared in the 1980s. It included some short sections that he cut from the orchestral score, and this version was recorded at the time by the Labèque sisters. For this recording G and C have used Gershwin’s final thoughts on the matter, which therefore correspond with the published full score, as it were. Sometimes the effect of listening to a piece in this way is rather like trying to recognise an old friend by his skeleton, but so practised are the duo, and so enjoyable is the arrangement, and so jam-packed with colour and incident, that one listens to its teeming narrative with unvarnished pleasure. From Gershwin to Hill is something of a leap. Hill, a fascinating figure and composer – teacher no less – came to jazz, or its like, at the age of 48 with the politesse of a Harvard grandee. The opening movement of the four Jazz Studies is polite Ragtime, whilst there’s a nicely sprung near-relative of The Black Bottom and – the most interesting harmonically – a tight, fast vivace to finish.
 
La création du monde is heard in the composer’s familiar piano-duet version. One says ‘familiar’ but it appears actually never to have been recorded before. What an oversight! If your marker for this is the composer’s own recording (one of them, anyway) or, say, Bernstein’s then there’s still no reason why you shouldn’t want to hear Milhaud’s own piano-duet reduction, given that it lays bare motivic strands in a way that you might miss in the glistening animal passion of the clothed orchestrated version. It’s a work of which I never tire, and not for nothing did I queue in the rain to get Lenny to autograph his LP of it for me.
 
A decade after the Milhaud, Alexander Moyzes wrote his Jazz Sonata for two pianos. For most Czechoslovakians – Moyzes was a Slovak – ‘jazz’ still meant hot dance bands, extrapolated ragtime, or something of that kind. It certainly didn’t mean King Oliver. Moyzes studied with Novák and is a crucial figure in modern Slovak music. His suite is delightful, unpretentious and not out to make points. There’s a charmer of a waltz and an endearing foxtrot: great fun. Seiber’s Easy Dances for piano duet, of which we hear a selection, were written when the composer was living in Frankfurt. These dance aperçus almost all last less than a minute. One, the Rumba, sounds like Stan Kenton’s Peanut Vendor in basic miniature, whilst the Slow-Fox makes me wonder how deeply his knowledge of jazz went; it sounds deeper by far than Moyzes or Hill for example. (Seiber co-wrote with Johnny Dankworth the Jazz-Improvisation for orchestra and jazz band and this was recorded in 1962 with the Dankworth’s band and the LPO conducted by Hugo Rignold: British Saga LP XIP700) Had he heard James P. Johnson’s records? To finish we have two little encores; Hoagy Carmichael’s Stardust and Gershwin’s Embraceable You arranged successively by Maurice Whitney and Percy Grainger. They make for a fitting envoi.
 
This is a sparkling and vivacious disc, marvellously played, and not just for jazzers only.
 
-- Jonathan Woolf, MusicWeb International
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Works on This Recording

1.
An American in Paris by George Gershwin
Performer:  Caroline Clemmow (Piano), Anthony Goldstone (Piano)
Period: 20th Century 
Written: 1928; USA 
2.
Jazz Studies for 2 Pianos by Edward Burlingame Hill
Performer:  Anthony Goldstone (Piano), Caroline Clemmow (Piano)
Period: 20th Century 
Written: 1922-1924 
3.
La création du monde, Op. 81 by Darius Milhaud
Performer:  Caroline Clemmow (Piano), Anthony Goldstone (Piano)
Period: 20th Century 
Written: 1923; France 
4.
Jazz Sonata for 2 Pianos, Op. 14 by Alexander Moyzes
Performer:  Anthony Goldstone (Piano), Caroline Clemmow (Piano)
Period: 20th Century 
Written: 1932; Slovakia 
5.
Easy Dances for 2 Pianos: Excerpt(s) by Mátyás Seiber
Performer:  Anthony Goldstone (Piano), Caroline Clemmow (Piano)
Period: 20th Century 
Written: 1932 
6.
Stardust by Hoagy Carmichael
Performer:  Anthony Goldstone (Piano), Caroline Clemmow (Piano)
Period: 20th Century 
Written: 1927; USA 
7.
Girl Crazy: Embraceable you by George Gershwin
Performer:  Anthony Goldstone (Piano), Caroline Clemmow (Piano)
Period: 20th Century 
Written: 1930; USA 

Sound Samples

An American in Paris (version for 2 pianos)
Jazz Studies for 2 Pianos: I. Allegretto, sempre giocoso
Jazz Studies for 2 Pianos: II. Allegretto vivace
Jazz Studies for 2 Pianos: III. Tempo giusto
Jazz Studies for 2 Pianos: IV. Vivace
La Creation du monde, Op. 81 (version for piano duet)
Jazz Sonata for 2 Pianos, Op. 14: I. Allegro - Tempo di slow-fox
Jazz Sonata for 2 Pianos, Op. 14: II. Tempo di valse lento: Andante con moto
Jazz Sonata for 2 Pianos, Op. 14: III. Andante un poco tenuto - Tempo di fox-trott
Easy Dances: Foxtrot I
Easy Dances: Paso doble
Easy Dances: Tango (Habanera)
Easy Dances: Foxtrot II
Easy Dances: Blues
Easy Dances: Rumba
Easy Dances: Tango Argentino
Easy Dances: Slow-Fox
Easy Dances: Ragtime
Easy Dances: Charleston
Star Dust (arr. L. Merkur)
Girl Crazy (arr. M. Whitney and P. Grainger): Girl Crazy, Act I: Embraceable You (arr. M. Whitney and P. Grainger)

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