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Gottschalk: The Complete Solo Piano Music / Philip Martin

Gottschalk / Martin
Release Date: 10/11/2011 
Label:  Hyperion   Catalog #: 44451   Spars Code: DDD 
Composer:  Louis Moreau Gottschalk
Performer:  Philip Martin
Number of Discs: 8 
Low Stock: Currently 3 or fewer in stock. Usually ships in 24 hours, unless stock becomes depleted.  

Notes and Editorial Reviews

It’s an unqualified success, a winning blend of fine pianism and infectious music, and all presented in top-notch sound.

Louis Moreau Gottschalk’s natal spot, New Orleans, was – and still is – a musical and cultural melting pot. By all accounts that’s why the Paris Conservatoire rejected the young pianist’s application without even hearing him play. In spite of that, Gottschalk soon became a salon favourite, attracting praise from the likes of Berlioz and Pleyel. He toured France, Switzerland and Spain before returning to the United States in 1853. He spent the rest of his short life performing in South and Central America, with forays further north. Gottschalk died in Rio on 24 November 1869. He was just 40.
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Much of Gottschalk’s music disappeared after his death, but what we have paints a fascinating picture of this most original and engaging composer. Reconstructing some of his larger works may have been a daunting task, but the end results are most rewarding. That said, it’s the piano music that really demands our attention. The 109 pieces collected here represent the most complete survey of Gottschalk’s œuvre for the instrument, and who better than Hyperion to record it? So often I’ve remarked on the excellence of their solo piano recordings, and I’m delighted to say this mouth-watering collection more than lives up to expectations.

But first, what of the competition? Well, in terms of completeness there is none. However, Eugene List, Cary Lewis and Joseph Werner (Vanguard) and Cecile Licad (Naxos) offer single-disc selections that are certainly worth acquiring. The trouble is, Philip Martin’s performances are so fresh and spontaneous, the rhythms so naturally sprung, that others seem almost clumsy by comparison. Indeed, just listening to Licad I found her phrasing so very different that I was taken aback. Still, her view of these scores has a strength and authority that can’t be ignored.

So, what of the Martin set? Presented in a sturdy cardboard case, the discs are in good-quality sleeves sporting the original artwork. Throw in a substantial, well- written booklet and the whole effect is very pleasing indeed, even more so at this low price. At the time of writing the box was available from the usual online sources for as little as £3 per disc – a remarkable bargain. But it’s the music that matters, CD 1 propelling us into Gottschalk’s unique sound-world with some of his most scintillating works. Le banjo is one of those understated display pieces that defines Gottschalk’s musical persona rather well. Reticence may not be the first word that springs to mind when talking of keyboard virtuosi, but it’s this very quality that makes his music so irresistible.

Philip Martin seems more aware of this paradox than his rivals – Licad especially, who brings a studied, rather Lisztian seriousness to her readings. Martin gives the music an easeful charm, a delicious sparkle, that always enchants the ear and lifts the heart. Le mancenillier and Minuit à Séville are astonishing in their deft interaction of left and right hands – another characteristic of these pieces – Martin’s seemingly intuitive response to shifting mood and rhythm a constant source of delight. And if it’s bravura playing you’re after, then Union, based on patriotic American tunes, will oblige – and then some.

The recording is natural and open, with a crystalline treble and clear, well-focused bass. Most important, the piano is placed at a sensible distance, so that even in Gottschalk’s more excitable moments the sound is never brash or overwhelming. And although the perspectives in CD 2 seem a little closer there’s a compensating warmth that makes it sound as alluring as before. There are few disappointments in this set, and none on this disc, the burbling little Berceuse a model of precision and feeling. And just listen the bell-like sonorities Martin coaxes from his piano. Really, this is magical.

Attentive listeners may be able to hear the pedals here, but I doubt anyone would find it intrusive or irritating. Manchega is another of those breathless pieces that Martin articulates so well, the musical ebb and flow expertly judged. Indeed, it’s that sense of internal architecture that sets Martin apart from his rivals; again, Licad is impressive here and in La savane, but she lacks the loose-limbed energy and quiet introspection Martin finds in these contrasting pieces. Moreover, the latter also ‘floats’ Gottschalk’s melodies most beautifully, without a hint of artifice.

One might be tempted to compare Gottschalk and Liszt, especially in their operatic paraphrases, but this Miserere from Gottschalk has a gentle artlessness – an out-and-out naiveté, even – that one doesn’t hear in the Abbé’s more worldly utterances. It’s that disarming reticence, I suppose, although the stentorian close to this paraphrase – and the grand flourishes of Souvenir de Lima – are certainly Lisztian in amplitude and attack. How very different from the distracted musings of the Ballade in A flat, or the Tremolo-like Pasquinade, the latter superbly scaled and articulated. Martin’s control of touch and dynamics is another reason why this collection is so successful.

The melting caprice ô ma charmante, épargnez-moi! opens CD 3 which, although it’s well-stocked with goodies, has one or two minor disappointments. The fervent fantasy on the Brazilian national anthem isn’t one of them, blessed as it is with a mix of pomp and point; nor is the winsome little Gottschalk’s melody, a charming – and passionate – self-portrait. Licad’s Bamboula is exciting but returning to Martin’s account there’s a thrust – a masculinity, perhaps – that better suits the virile, declamatory nature of the piece. Only the rhetorical doodles of The dying poet and The last hope let the side down, but only by a little. And once again we end with a Tremolo-like crowd-pleaser, the riotous Tournament galop, dashed off with great swagger and brilliance.

The halting rhythms of Pensée poétique and La gitanella – on CD 4 – are beautifully judged; there’s a Satie-esque circularity to the former that’s most engaging, the latter imperiously played. Martin is equally sympathetic in the dark-toned lament Morte!, although one may be forgiven for finding it rather morbid. That said, the heart of this piece beats so valiantly that it seems churlish to complain. The tours-de-force here are the coruscating caprice Polonia, which balances rhythmic verve and good humour, and the jaunty Forest glade polka. Not for the first time, I was impressed by Martin’s ability to elevate Gottschalk’s melodies above the dense thickets below. As for Apothéose, it has a thrilling weight and dynamism that will rattle the windows or dislodge a few tiles.

There’s no doubting Gottschalk’s flamboyance in pieces such as Apothéose but if, like me, you’re more inclined towards Eusebius than Florestan, you’ll find plenty of poetry and lyricism in CD 5, which opens with the charming Sospiro waltz. Martin phrases and pedals most delicately both here and in Marguerite. One of the things I like least in Licad’s Gottschalk is the exaggerated dynamics and unsubtle rhythmic shifts. Just listen to Martin at the start of Bataille and you’ll hear a gentle, unassuming pianism that’s wonderful to behold. Indeed, of all the discs in this box CD 5 is the one to snatch from the flames; it’s unalloyed pleasure from start to finish, Martin’s laugh-our-loud rendition of Tremolo an object lesson in touch and timing.

I’m not a great fan of YouTube, but a quick Google unearthed a video of Martin playing Tremolo at a concert in Mexico. Even allowing for the clangy recording and amateurish visuals there’s no doubting his affinity for this music; it comes through in each miraculous bar, as the appreciative applause so amply demonstrates. The music on CD 6 is played with the same commitment and flair, from the rocking figures and silvery spray of Le carnaval de Venise to the delightfully mobile – and Schubertian – Vision and will-‘o’-the-wispery of Danse des sylphes. Some of the other pieces are less interesting, but Martin’s programmes are eminently sensible; not only is there variety on each disc, there’s also a preponderance of quality material, so one never feels short-changed.

Even towards the end of a collection such as this, when one might expect some odds and ends, there’s more than enough to keep one listening to CD 7. True, The water sprite and Fairy land aren’t as light and characterful as one might expect, but the rich, dark harmonies of Deuxième banjo are well caught. As judicious as ever, Martin plays the Battle cry of freedom with just enough jingle to underplay the jingo, making this a splendid encore piece. And what to make of Gottschalk’s effervescent little waltz, La brise, or the tongue-in-cheekiness of God save the Queen, which brings this CD to a regal close? All good fun and, as always, superbly recorded.

I know the show business mantra that one should always leave ‘em wanting more, and even as I worked through CD 8 I knew I was going to feel bereft when it ended. It all passes so quickly, from this bittersweet take on Home, sweet home – it sounds remarkably like it’s being played on a guitar or banjo – through to the Joplinesque Ses yeux and the splendour of Jerusalem. Some of the other items are less memorable but, as alway, the ledger ends in credit.

If, like Crusoe, I were to find myself stranded on a desert isle this wonderful box would be more than enough to keep me entertained while awaiting rescue. It’s an unqualified success, a winning blend of fine pianism and infectious music, and all presented in top-notch sound. At this or any price it’s an absolute steal.

-- Dan Morgan, MusicWeb International
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Works on This Recording

1.
Le banjo, Op. 15/RO 22 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1854-1855; USA 
2.
Le mancenillier, RO 142/Op. 11 "Sérénade" by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1848-1849; Paris, France 
3.
Minuit à Seville, RO 170/Op. 30 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1852-1856; USA 
4.
Romanze for Piano by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
5.
Canto del gitano, RO 35 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1852; Switzerland 
6.
Souvenir de Porto Rico, RO 250/Op. 31 "Marche de Gibaros" by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1857; Antilles 
7.
Souvenir de la Havane, RO 246/Op. 39 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1859; Antilles 
8.
Danza for Piano, RO 66/Op. 33 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1857; Antilles 
9.
Ballade for Piano no 6, RO 14/Op. 83 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
10.
Columbia, RO 61/Op. 34 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1859; Antilles 
11.
Ojos criollos for Piano, RO 185/Op. 37 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1859; Antilles 
12.
Le bananier, RO 21/Op. 5 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1845-1846; Paris, France 
13.
Union, RO 269/Op. 48 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1862; USA 
14.
Mazurka for Piano in F sharp minor by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
15.
Suis-moi!, RO 253/Op. 45 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1861; Antilles 
Length: 3 Minutes 29 Secs. 
16.
Berceuse for Piano, RO 27/Op. 47 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1860; Antilles 
Length: 4 Minutes 42 Secs. 
17.
La jota aragonesa, RO 130/Op. 14 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1851; Paris, France 
Length: 2 Minutes 53 Secs. 
18.
Manchega, RO 143/Op. 38 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1851-1856 
Length: 4 Minutes 16 Secs. 
19.
Marche de nuit RO 151/Op. 17 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1855; USA 
Length: 4 Minutes 59 Secs. 
20.
La savane, RO 232/Op. 3 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: Paris, France 
Length: 6 Minutes 49 Secs. 
21.
Miserere du Trovatore, RO 171/Op. 52 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1856; New York, USA 
Length: 8 Minutes 56 Secs. 
22.
Souvenirs d'Andalousie, Op. 22/RO 242 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1851; Paris, France 
Length: 4 Minutes 15 Secs. 
23.
Polka for Piano in A flat major, RO 275 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1859; Antilles 
Length: 3 Minutes 1 Secs. 
24.
Ballade for Piano in A flat major, RO 271 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1853 
Length: 4 Minutes 46 Secs. 
25.
Polka for Piano in B flat major, RO 273 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Length: 2 Minutes 1 Secs. 
26.
Caprice-Polka, RO 44/Op. 79 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1856; USA 
Length: 4 Minutes 26 Secs. 
27.
Scherzo-romantique, RO 233/Op. 73 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1851; Paris, France 
Length: 3 Minutes 49 Secs. 
28.
Souvenir de Lima, RO 247/Op. 74 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1865; Peru 
Length: 4 Minutes 27 Secs. 
29.
Grand Scherzo, RO 114/Op. 57 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1869 
Length: 5 Minutes 0 Secs. 
30.
Pasquinade, RO 189/Op. 59 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1869; Brazil 
Length: 3 Minutes 45 Secs. 
31.
Inés, in E flat major RO 277 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1860; Cuba 
Length: 2 Minutes 10 Secs. 
32.
O ma charmante, épargnez-moi, RO 182/Op. 44 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1861; Antilles 
Date of Recording: 06/1996 
33.
Grande fantasie triomphale, RO 108/Op. 69 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1869 
Date of Recording: 06/1996 
34.
Bamboula, RO 20/Op. 2 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1844-1845; Paris, France 
Date of Recording: 06/1996 
35.
Gottschalk's Melody in D flat major by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: circa 1853 
Date of Recording: 06/1996 
36.
Dying Poet, RO 75 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1863-1864; USA 
Date of Recording: 06/1996 
37.
Grande étude de Concert for Piano, RO 116/Op 88 "Hercule" Op. 88 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1869; USA 
Date of Recording: 06/1996 
38.
Last Hope, RO 133/Op. 16 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1854; USA 
Date of Recording: 06/1996 
39.
Murmures éoliens, RO 176/Op 46 Op. 46 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1860; USA 
40.
Symphonie romantique, RO 255 "La nuit des tropiques": 1st movement, Andante by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1858-1859; Antilles 
Date of Recording: 06/1996 
41.
La chute des feuilles, RO 55/Op. 42 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1860; Antilles 
Date of Recording: 06/1996 
42.
Tournament Galop, RO 264 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1854; USA 
Date of Recording: 06/1996 
43.
La colombe, RO 60/Op. 49 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1863 
44.
La moissonneuse, RO 173/Op. 8 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1848 
45.
Le songe d'une nuit d'été, RO 240/Op. 9 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1850 
46.
Pensive, RO 196 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: by 1864; USA 
47.
La scintilla, RO 80/Op 20 "L'étincelle" by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1848-1849; Paris, France 
48.
Souvenir de Cuba, RO 245/Op. 75 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1860 
49.
La gitanella, RO 103/Op. 35 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1857; Antilles 
50.
Morte!, RO 174/Op. 60 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1868; Uruguay 
51.
Grande caprice de concert, RO 210/Op. 43 "Polonia" by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1859 
52.
Fantôme de Bonheur, RO 94/Op. 36 "Illusions perdues" by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1860 
53.
Forest Glade Polka, RO 98/Op. 25 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: by 1853 
54.
Ballades (2) for Piano, RO 187/Op. 4 "Ossian" by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1846-1847; Paris, France 
55.
Ricordati, RO 227/Op. 26 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1855-1856; USA 
56.
Reflets du passé, RO 223/Op. 28 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1856 
57.
Apothéose, RO 8/Op. 29 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1855-1856; USA 
58.
Sospiro, RO 241/Op. 24 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1856; USA 
59.
Réponds-moi, RO 225/Op. 50 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1859; Antilles 
60.
Solitude, RO 239/Op. 65 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1855; USA 
61.
Ballade for Piano no 8, RO 16/Op. 90 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
62.
Tremelo, RO 265/Op. 58 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1869; Brazil 
63.
Orfa, RO 186/Op. 71 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1859; Antilles 
64.
El cocoyé, RO 57/Op. 80 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: USA 
65.
Polka de salon, RO 207/Op. 1 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1844-1846; France 
66.
Rayons d'azur, RO 220/Op. 77 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1855; USA 
67.
La chasse du jeune Henri, RO 54/Op. 10 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1848-1849; France 
68.
Bataille, RO 25/Op. 63 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: ?1867-68; Argentina 
69.
Marguerite, RO 158/Op. 76 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: ?1866; Peru 
70.
Printemps d'amour RO 214/Op. 40 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1855; USA 
71.
Danse Ossianique, RO 64/Op. 12 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1850-1851; Paris, France 
72.
Jeunesse, RO 129/Op. 70 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1859; USA 
73.
Maiden's Blush, RO 141 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1859; Antilles 
74.
Impromptu for Piano, RO 122/Op. 54 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1869; USA 
75.
Le Carnaval de Venise, RO 45/Op. 89 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1850 
76.
Marche funèbre, RO 147/Op. 64 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1853; USA 
77.
Vision, RO 295 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: circa 1870; Rio de Janeiro, Braz 
78.
Caprice élégiaque, RO 38/Op 56 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1868-1869 
79.
Mazurka for Piano "Colliers d'or", RO 58/Op 6 no 1 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1847-1849 
80.
Mazurka for Piano "Colliers d'or", RO 59/Op 6 no 2 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1847-1849 
81.
Danse des sylphes, RO 65 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1850-1853 
82.
La Favorita, RO 95/Op 68 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1859 
83.
La gallina, RO 100/Op. 53 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1863; USA 
84.
Home, Sweet Home, RO 117/Op. 51 "Charme du foyer" by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: ?1862 
85.
Chant du guerre, RO 48/Op. 78 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1857-1859 
86.
Pensive, RO 196 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: by 1864; USA 
87.
Le chant du martyr, RO 49 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: ?1854; Antilles 
88.
Ses yeux, RO 234/Op. 66 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1865; USA 
89.
Pastorella e cavalliere, RO 190/Op. 32 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1859 
90.
Radieuse, RO 217/Op. 72 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1859-1863; USA 
91.
Dernier amour, RO 73/Op. 62 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: ?1867-1869 
92.
Variations de concert sur l’hymne portugais, RO 290/Op. 91 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: 1869 
93.
La mélancolie, RO 167 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 
Written: ?1850 
94.
Jérusalem [after Verdi], RO 126/Op. 13 by Louis Moreau Gottschalk
Performer:  Philip Martin (Piano)
Period: Romantic 

Featured Sound Samples

Ô ma charmante, épargnez-moi! (Caprice)
Vision (Étude)

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