DVORAK SOCIETY NEWSLETTER: (review of Dvorak music only)
So good are these performances that I quite forgot I was listening to totally familiar works in an unusual setting. In the case of the Dvorák, I am sure there is evidence here that the composer was, far from being the poor writer for piano of popular myth, a true master of his medium, so well does the work develop. Perhaps I could have wished for a different coupling, such as one of the many other versions of Dvorák orchestral works that have never yet been recorded but that would be churlish, because this New World will take a great deal of beating. It is simply that good.
(name of reviewer unknown)

INTERNATIONAL RECORD REVIEW:
Everyone knows – doesn’t he? – that in those dark, dark days before commercial recording, music lovers familiarised themselves with the latest orchestral pieces by playing them at the piano, often in duet versions that composers made themselves. Here Anthony Goldstone and Caroline Clemmow have chosen two of the most celebrated symphonies of the nineteenth century in offering us a taste of those times. What we don’t get with either of these transcriptions are symphonies turned into piano duet sonatas. Composers were generally eager to squeeze in as much textural detail as possible. There’s little thinning out to adapt to the new medium. Why should there be, since transcriptions were not intended for concert performance? But the result is often music that sounds thicker and clumsier than the orchestral originals.

Certainly, veritable fistfuls of notes clutter up the opening of the piano duet version of Dvořák’s New World Symphony. But Goldstone and Clemmow are alive to the spirit of the music, showing admirable poise, and easy momentum and a wide range of colour in the slow movement and sensibly opting for a steadyish tempo in the Scherzo, with its hazardous plethora of rapidly repeated pitches. The transition to the finale is beautifully managed, and that movement builds to an impressive climax, though inevitably the final mass of oscillating chords sounds a mite ugly.

Mendelssohn’s Scottish Symphony is, relatively speaking, a light-textured work, so the duet transcription works rather better than is the case with the Dvořák. With the texture cleared for them, Goldstone and Clemmow play with a relaxed, opulent singing tone in the first movement. Again the rapidly repeated notes of the Scherzo present potential pitfalls, but here their lightness of touch rather than steadiness of speed sees them through. The double-dotted slow movement has an impressive grandeur – and togetherness – while the galop of the finale is tautly controlled. This is highly rewarding duet playing. I like, too, the recording, which offers a welcome feeling of space between listener and instrument without seeming distanced or vague. With the cluttered textures of the Dvořák, the old trick of placing the microphone almost inside the piano would simply not work.
Stephen Pettitt

MUSICWEB:
These are arrangements by the composers themselves. Both symphonies are very popular and one is probably a masterpiece. Composers of the time often made arrangements for piano duet of their works since this would introduce such works to a wider audience since not everyone could get to orchestral concerts.

Hearing these symphonies in this form brings out some detail and it also shows how some orchestral effects cannot be successfully reproduced on the piano such as, for example, timpani rolls. For those who are interested Anthony Goldstone, probably in one of his fascinating and eccentric waistcoats, takes the top part of the piano. Caroline Clemmow takes the bottom part. I cannot praise this duo too highly. They both have a wonderful sense of musicianship and I have enjoyed their performances over many years.

As with all Divine Art CDs I have, the sound and presentation is good. Why should you buy this disc? Let me list some of the many reasons

1. It brings out detail which may not always be clear in orchestral performances

2. It is well played

3. It is comparatively unusual.

4. It might encourage pianists to take up these arrangements and, as a result, they will receive much enjoyment from so doing and so will their audiences.

5. Both symphonies are given the most satisfactory performances which are full of life, verve and great sensitivity.

6. Performances in this form are a very valuable service to music lovers.

7. It will prove invaluable to music teachers, music colleges and seminaries in the study of these two works and symphonic works in general.

On another note this disc shows up, no doubt unintentionally, how superior the Mendelssohn is. I have no desire to put down the Dvořák although, as I say in my biography of this composer, the finale of the New World symphony is nothing more than a pot-pourri of tunes and the glorious slow movement loses something in the four hand transcription but that must not deter you from examining this disc.

Mendelssohn's symphony is a far better work and, incidentally, it works better in the four hand version than the Dvořák. I revelled in the abundance of detail revealed in this performance and was reminded of what a truly great composer Mendelssohn is. There is a lovely and infectious tripping style in this choice playing and the atmosphere is caught to perfection. It has real charm and the performance is a real joy to listen to. One may not often use the word inspiring to describe Mendelssohn but, on the basis on this performance, the word must be used.

You should acquire this disc even if you only play it once. It is a real joy. But do not treat it as a novelty. It is too good for that. Recommended. One does not have to say more. The disc recommends itself.
David Wright

AMAZON.COM:
I must be the only one since the 19th century who has chosen to hear these great symphonies for the first time as four hand piano arrangements. It's rather difficult to explain how I've not heard one of the most famous symphonies in classical music, Dvorak's 9th. But it's true; I stumbled onto these recordings while looking for piano arrangements of Brahms's symphonies. Therefore, I confess my inadequacy to properly review these works for the aficionado since I'm only familiar with these symphonies through this particular recording. Nevertheless, I believe the merits of this music are enough for me to highly recommend this disc. I've heard many piano arrangements and transcriptions and I've never felt compelled to compare them with the original orchestral versions. I judge piano arrangements by the music content, orchestral sonorities, and overall performance. Therefore, I feel quite safe in exhibiting my enthusiasm for Goldstone and Clemmow's tremendous tour-de-force recording presented here.

These symphonies are undoubted masterpieces. A first hearing made it clear to me, especially when I heard the magnificent Dvorak work; wow, what a symphony! Those who are acquainted with the symphonies already please know that these arrangements are the composers' own. There are no lackluster publisher or editor arrangements here. So you can expect, then, a quality of arrangement/transcription on par with Brahms's or Liszt's. Attention is given to harmonics and orchestral effects; Mendelssohn's storm section in the first movement of his Scottish symphony is marvelously done. The last movement of the Dvorak is breathtaking by the way of its ingenious tremolos and decrescendi.

Dvorak's 9th is basically four movements of spectacular and beautiful music. The first exciting movement is a tempestuous example of pianistic power. Goldstone and Clemmow are deeply possessed by the music and let loose some grandiose moments. Of course the famous largo movement can speak for itself; I feel the sublime melancholy of the piece is well-suited to the piano. The Scherzo and last movement are aflame with passion and roaring with strength. There are moments where it sounds more like eight hands, as the depth of the harmonies and dynamics soar to impressive heights. Just listen to the end of the last movement, a crescendo and sustained wall of piano chords with such an orchestral quality, it's astounding. The entire work is absolutely flawless on the piano; Dvorak's music transfers as eloquently and expressively as Brahms's.

Mendelssohn's Scottish Symphony is one of his best creations, in my opinion. It is a rather unusual symphony since the second movement is a short allegretto-like interlude in sonata form. His first movement is also peculiar because of its subdued and mysterious sound, until the storm sections that is. There are no hints of the performers slacking off here; the piano duo continues their prudent and impassioned style of playing, just as successfully as the Dvorak. The real gem is to be found in the adagio third movement. This kind of lyrical and emotional movement belongs on the piano; it's comparable with a superb movement from a Mendelssohn piano sonata. The singing fortissimo chords sound crisp and clear, providing the loveliest harmonies I've heard in a while. Then there is the invigorating last movement, a lively and fiery keyboard expedition. As I've noticed in their recording of Tchaikovsky's 4th symphony for piano arrangement, Goldstone and Clemmow are always sensitive to the dynamics and emotional content. If there is any doubt about their interpretation of the tempo or phrasing, take comfort that their full-blooded execution more than makes up for it.

Bottom line: Though the tempo and overall interpretation of these works will be different to each listener, assuming they have heard the original orchestral version, I feel confident in declaring that the performance is a colossal display of pianism and musicality. Again, I make no attempt to compare it with the orchestral; that's unnecessary. These are symphonic compositions played on the piano, so essentially I treat them as piano compositions. As such, they are brilliant and electrically-charged piano performances of two great symphonic works. Try them.
“Hexameron”

EAGLE TIMES (USA):
Just as a good reading rather than a performance of a great play can make clearer the work’s inner structure, so can a piano reduction of a symphonic work do the same. Brahms himself prepared piano-for-four-hands versions of his first and fourth symphony, Gershwin left behind like versions of his “Rhapsody in Blue”, and there are countless other examples in which great works can be heard in piano and in full orchestral versions (Some with chamber versions in between).

Having already reported on a wonderful “four hands” recording on the Divine Art label of Tchaikovsky’s Symphony No. 4, I am delighted to find that on the same label the same artists have given us a generous sampling of this genre in Dvorak: Symphony no. 9 in E minor “From the New World” and Mendelssohn: Symphony no. 3 in A minor “Scottish” (25028). Here we have those composers’ original piano-duet versions of these popular and beautiful works played by Anthony Goldstone and Caroline Clemmow. The program notes give fine background information about both works in this piano format. For myself, having heard both of these works in the more familiar orchestral versions very often indeed, I find this recording a breath of fresh air. It is like hearing them both for the first time. Grab a copy for yourself, another for friends, and let me know what you think.
Frank Behrens

CLASSIC FM MAGAZINE:
In the pre-recording era, piano duet arrangements of orchestral music were a major industry. Dvorák's likeable arrangement of the 'New World' avoids the trap of over-writing that can bedevil the medium, although it can't help sounding like reduced orchestral music. Mendelssohn's 'Italian' [sic], however, sounds like a pianistic creation in its own right. Fine, immaculately balanced and paced performances. Award ***
Malcolm Hayes

CUSTOMER:
I would like to express my delight regarding the above Divine Art recording which I have purchased recently. It was quite by chance I tuned in to Classic FM radio to catch one movement of therecording of Mendelssohn's Scottish Symphony , arranged by the composer for two pianos,and played superbly by Goldstone & Clemmow.. I am 79 years of age and feel privileged to have been able to appreciate and enjoy music throughout my life. Being a member of the Rotherham Recorded Music Society, I am already planning to include the recording in my next presentation. Of all the many recordings in my collection, this... has to be for me one of the finest.
JEB