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Jean-Baptiste Baronian
Crescendo (France), April 2018

Sound 9 – Booklet 7 – Repertoire 7 – Interpretation 9

The work of an interpreter in full maturity, perfectly master of his … keyboard. © 2018 Crescendo (France)



Dean Frey
Music for Several Instruments, March 2018

Thanks to Naxos’s Grand Piano label for their excellent package, including well-recorded, non-Casiotone sound and well-written, informative liner notes; and to the fine pianist Stephane Ginsburgh for providing the best possible way for us to think of Anthony Burgess in this way. © 2018 Music for Several Instruments Read complete review



David Denton
David's Review Corner, February 2018

Born in Manchester in 1917, Anthony Burgess became one of the most highly acclaimed English literary figures during the second-half of the Twentieth century. His early life as a pianist and dance-band arranger also created a sub-career as a composer that extended to more than two hundred classical compositions, including a piano concerto and a symphony. At the time they did engender encouraging critical response, but today they reside in oblivion, though this much welcomed disc evinces that response is unjustified. Using a ‘pun’ on Bach’s famous The Well-Tempered Clavier, he set out to offer a rather light-hearted response with his own series of 24 Preludes and Fugues. At times, particularly in the fugues, he looks back kindly to the Baroque era, but more often he introduces modernity into the concept adding a few moments that go back to his younger years in popular music. Intermingled with all of this is his obvious knowledge of Shostakovich’s work in the same format. It is said that he composed it in twenty days at the end of 1985, which would be no mean achievement with pages that are often black with notes, the short Eleventh Prelude a whirlwind torrent. It was finished on December 13, and, as Christmas was approaching, he added a coda named Natale, the fugue based on the carol, Good King Wenceslas. At times throughout this work—lasting over eighty minutes—we see a very distinct parallel with Malcolm Arnold who lived at much the same time, and equally moved between the same diversity of output, the listener never quite knowing what to expect next. The much-travelled Belgium concert pianist, Stephane Ginsburgh, well-known in the world of music of our time, is a most persuasive advocate, his own approach toying with a harpsichord style that is utterly appropriate. The recording made in Belgium is pleasing. © 2018 David’s Review Corner



Records International, February 2018

The pieces are very accomplished, like all Burgess’ music, and thoroughly enjoyable. Each has its own distinct character; a large proportion share characteristics with their Baroque models, especially the 48, though others are more modern, some seemingly nodding to Shostakovich’s 1950–51 set. © 2018 Records International Read complete review





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