** some reviews refer to the fact that the song "Fascination" has been attributed to F. D. Marchetti and was published by him. Generally, sources seem undecided whether, as is claimed by many, the song was written by Ravel and given to his friend Marchetti. Clearly this view is held by the celebrated Manuel Rosenthal, Ravel's close friend and pupil, who claimed to have personal knowledge of the transaction. Howver this is disputed by Marchetti's heirs.

MUSICAL OPINION:
The husband and wife team of Anthony Goldstone and Caroline Clemmow have been recognised as among the most popular and versatile piano duo over many years. Goldstone himself has an impressive reputation as a solo pianist, again with a constant fascination into neglected and rarely heard music of quality. The Divine Art CD of Unheard Mozart on dda25051 is a particularly interesting example.

Gershwin’s admiration for Ravel is well known and an excellent excuse for bringing these two composers together in both original and arranged music. The Rhapsody in Blue, for example, was first scored for four hands, though the first performance was given with instrumental scoring by Paul Whiteman’s arranger Ferde Grofé. This performance is packed with poetic exuberance and well worth the cost of the CD in its own right. However, the other Gershwin pieces, the Cuban Overture and the Variations on I Got Rhythm, offer new facets of Gershwin enhanced by the variety available for four hands.

Ravel’s Mother Goose, here in what is the first recording in Roger Nichols' corrected edition for Peters, is a delight and played with an enormous sense of imagery. Boléro, of course, cries out for Ravel’s superb orchestration. However, if listened to in this version there is much to enjoy in the development of the great climax. Nevertheless I must admit to being enchanted by Anthony Goldstone’s arrangement of the delightful Fascination.
Denby Richards

CLASSICALNET:
This disc is a delight from start to finish. With such inspired piano playing throughout, one rarely has the time to reflect on the fact that these works were not strictly composed for piano duet but Goldstone and Clemmow belie that.

Gershwin’s ‘Rhapsody in Blue’ and his Cuban Overture (actually the original version for piano duet) come across quite magically with the thrill and exhilaration superbly portrayed with both pianists’ nimble fingers. I also greatly enjoyed the ‘I Got Rhythm’ Variations which are very colourful and include some outstanding technical touches.

Turning to Ravel, the music is perhaps a bit more mellifluous but nonetheless it is no less enjoyable. The delicate nuances of ‘Ma mere l’Oye’ are nimbly played by Goldstone and Clemmow whilst the ‘Sites auriculaires’ also contain some dazzling piano effects. All comes to a close with a barnstorming rendition of ‘Bolero’ which is the ideal show stopper that rounds off the disc in real party fashion. The disc is fabulous as it is but the added bonus of detailed notes by Anthony Goldstone make for a truly indispensable package. Thumbs up to the enterprising label that is Divine Art for providing us with such a barnstormer of a disc. Here’s to more from this fine stable.
Gerald Fenech

AMERICAN RECORD GUIDE:
Gershwin and Ravel work very well together. There was an honest respect between the two men and compositional influence in both directions. This generous collection is a great combination of the best-known works by each composer along with some less familiar works. All except one are in arrangements by their composers, lending an air of credibility to the whole endeavour.

I must admit to being a little protective of Gershwin when it comes to performances by Europeans (British in this instance). My mind goes back to the 70s and a recording called “Gershwin a la Russe”, which had sincere, but very awkward performances of Rhapsody in Blue and the Concerto in F by a Russian pianist and orchestra. Goldstone and Clemmow took only a few pages of Rhapsody to put my fears to rest; they are simply marvelous. No pretentious rhythmic alterations in the name of American jazz style, but a faithfulness to both the composer's two-piano score and the spirit of his landmark composition.

They switch gears wonderfully to Ravel's piano duet masterpiece, Ma Mere l'Oye , heard here in a new edition restoring some of Ravel's original scoring. Note particularly the low gong-like clusters in the middle of ‘Laideronnette, Empress of the Pagodas'. Then back to Gershwin, with the composer's piano duet arrangement of the Cuban Overture . As one who has learned and performed this arrangement (Gershwin's only foray into the piano duet idiom), I know how effective an audience-pleaser this can be. I am also painfully aware that the lack of orchestral color and the percussion section rob it of some of its best qualities. I was quite impressed with some blistering tempos, contrasted with the melancholy mood of the central section.

Ravel's Sites Auriculaires (Soundscapes) for two pianos were new to me and a welcome addition to my collection. The well-known song, ‘Fascination' is usually attributed to F D Marchetti, but the notes make a strong case for it being an early Ravel piece sold to Marchetti. Goldstone shows off his clever arranging ability (and tongue-in-cheek humor) with an enjoyable arrangement of the song that even manages to include a reference to the closing work, Bolero. **

Before that, we are treated to Gershwin's I Got Rhythm Variations . Here is the one instance where I missed the sharp, articulated rhythms, sweep and drive that I learned long ago from Earl Wild's magical recording of this work. The softer edges and more melodic treatment of the material heard here makes for an interesting new take on the work; but finally, I want to pull out Wild's recording.

I have only the best to say about their performance of Bolero . I assume it is very taxing, with all of the repeated notes, and their ensemble is perfect for the full duration. The duo's voicing and phrasing make me not really notice the lack of orchestral color until close to the end. Approaching and arriving at the big modulation and the final statement of the theme, I miss the big whoops from the French horns and every percussionist in the orchestra playing away. One piano, four hands just can't quite match that. Given that Ravel took the time to prepare a piano duet version, I believe it is worth hearing. Goldstone and Clemmow have consistently impressed me with their repertoire choices, musicality and precision ensemble. This release continues the tradition.
Harrington

MIDWEST RECORD (USA):
Focusing on familiar works like “Rhapsody in Blue” and “Bolero” but offering them in their original four handed arrangements before they were passed into the familiar orchestral pieces we know, this feels like a candid look at the works as they were originally supposed to be heard. A real ear opening date that has a deceptive simplicity that puts the music front and center, classical piano fans have a winner of a set here as the duo takes you inside the music in a way that you might not have been before. Not really small chamber music despite only 20 fingers out there carrying the load, it’s nothing less that a crisp new post card from an old friend you thought had nothing new to say.
Chris Spector

PIANIST:
Gershwin's Rhapsody in Blue fares brilliantly in a version for two pianos. Goldstone and Clemmow can comete with any jazz band and they dance around on the keyboard like tap dancers.
Marius Dawn

LIVERPOOL DAILY POST:
Divine Art releases a most entertaining disc by Merseyside-born pianist Anthony Goldstone and his wife, Caroline Clemmow. They play at two pianos and in piano-duet music by George Gershwin and Maurice Ravel. There are the composers’ versions of Rhapsody in Blue, Cuban Overture and the Variations on I Got Rhythm, and Ravel is represented by Mother Goose Suite, Soundscapes (a rarity) and Bolero.

And there is the famous Fascination Waltz, not by Marchetti as always stated, but by Ravel himself, who wrote it and sold it to Marchetti who was young and hard up. Fascination indeed! **
Peter Spaull

INTERNATIONAL RECORD REVIEW:
This formidable piano duo (and husband-and-wife team) has made over 30 CDs already and the latest disc further enhances their considerable reputation. Anthony Goldstone provides the excellent programme notes, explaining how when they met in America in 1928 Gershwin’s request to study with Ravel was greeted with the reply that it might cause him to “lose his great gift of melody and spontaneity”. The notes are generally a mine of information (Ravel’s Boléro is ‘reputed to be performed somewhere in the world very fifteen minutes’). The works of the two composers, both of whom died in 1937, are cleverly alternated, creating some fascinating juxtapositions, with Gershwin’s Cuban Overture being followed by Ravel’s ‘Habanera’ (a dance originating from Havana) from Sites auriculaires. The programme provides a wonderful blend of the familiar and the obscure, as well as a novelty in the form of Goldstone’s own piano duet arrangement of Ravel’s melody ‘Fascination’.

Rhapsody in Blue receives the full-blown treatment in its original version for two pianos. For many this will be a poor substitute as compared with the rich colour of Ferde Grofé’s orchestration, but it is a surprisingly effective arrangement in its own right, really disappointing only in the broad cantabile melodies (such as that of the E major Andantino moderato), which should hold swell and brim forth, providing such a wonderful contrast to the extrovert and often percussive display of the solo piano. With this lack of contrast, the solo part is inevitably less distinct, and the nimble and fleet-fingered passagework – particularly in the repeated note section towards the close – loses some of its lustre and its exuberance, all the more so for the lack of really flamboyant display; the likes of Previn achieve greater evenness of touch, a quicker tempo and a resulting sense of real exhilaration here.

Ravel’s Ma mere l’oye – ‘receiving its first recording in Roger Nichols’s corrected edition for Peters’ – is performed with a very suitable delicate simplicity. There’s more subtlety of shape and colouring to be found in this work, as evident in last year’s release by the Labèque sisters, and greater vitality too from Lortie and Mercier (even if it’s at the expense of the composer’s own metronome markings in ‘Laideronette’), but Goldstone’s and Clemmow’s approach is no less valid for being less overtly characterised.

The smaller works fare equally well, with dance rhythms predominating, clearly articulated in Gershwin’s I Got Rhythm Variations, Cuban Overture and Ravel’s ‘Habanera', before culminating in a controlled performance of Boléro. This is again undercharacterised and slightly subdued, avoiding the intensity and excitement of Lortie and Mercier, who are more that two-and-a-half minutes quicker.

A few reservations apart, these are very worthy performances, the programme is an attractive one for its variety and for the inclusion of many rarely heard works, and the sound quality is ideal. The major works here may have received more committed performances than these, nevertheless, devotees of piano duo repertoire will doubtless want to add this to their collections.
Nicholas Salwey

THE GUARDIAN:
George Gershwin and Maurice Ravel were something of a mutual admiration society; the story goes that when Gershwin asked Ravel for piano lessons, the Frenchman asked the American how much he earned, then said: 'Maybe you should be giving me lessons!' Their influence on each other is evident in this delightful disc from the British husband-and-wife team Anthony Goldstone and Caroline Clemmow, who include the original two-piano version of Gershwin's Rhapsody in Blue and 'I Got Rhythm' alongside Ravel's 'Ma mere l'Oye' from Mother Goose and a rousing 15-minute climax of Ravel's Bolero.
Anthony Holden

CLASSIC FM MAGAZINE:
The indefatigable husband and wife team in an enterprising and entertaining programme of two-piano/piano-duet works from two composers (and friends).
Jeremy Nicholas