Listen all tracks :
|01. Souvenirs d'Andalousie (caprice de concert) (3:55)||0.49|
|02. O, ma charmante, épargnez-moi! (caprice) (3:08)||0.49|
|03. The Banjo, grotesque fantasie (American sketch) (3:40)||0.49|
|04. Berceuse (cradle-song) (6:03)||0.49|
|05. Le Bananier (chanson nègre) (2:52)||0.49|
|06. Le Mancenillier (sérénade) (5:05)||0.49|
|07. Tournament Galop (2:59)||0.49|
|08. The Last Hope (religious meditation) (6:25)||0.49|
|09. Bamboula (danse de nègres) (7:31)||0.49|
|10. La Savane (ballade créole) (6:23)||0.49|
|11. Grand Scherzo (4:41)||0.49|
|12. Souvenir de Porto Rico, (marche des gibaros) (5:34)||0.49|
|13. Manchega (étude de concert) (3:52)||0.49|
|14. Morte!! (she is dead) - lamentation (6:53)||0.49|
Total Time 1:08:53
As a composer Louis Moreau Gottschalk had the ability to structure folkloristic material in an easy, original style and to integrate it into his work, and never lost sight of its emotional impact. He turned to melodies and rhythms of the black people and creole people of his homeland and thus he created pieces such as Le bananier, Bamboula and La Savane. Louis Moreau Gottschalk was also open to other local influences during his long stays in Europe (Souvenirs d'Andalousie), America (The Banjo) and the Caribbean (Le Mancenillier). In the last case he could, for example, use complex south American rhythms or create atmospheric pictures of a procession such as Souvenir de Porto Rico.
Louis Moreau Gottschalk was on the side of Lincoln, against slavery. During the Civil War he also wrote patriotic pieces like The Union. He felt himself to be a cultural ambassador between the Americas. Besides dozens of piano pieces, he composed two symphonies, piano pieces for four hands, operatic music and music for piano and orchestra.
Through their integration of popular elements his works afford us new perspectives on American music, anticipating elements of jazz and ragtime, and also of world music. Louis Moreau Gottschalk was a master at spectacle (with giant concerts like the Triumphal Hymn and the Champêtre cubaine involving many hundreds musicians on the stage). These represented developments that were not easy to characterise from a European point of view.
The pieces chosen here speak for themselves. Regina Albrink unfolds with great virtuosity and simplicity the rhythmical strength and melodic beauty of this music - not only its wealth and its power, but also its elegance and tenderness. The best! (Morte)