The Piano At The Ballet: Vol. 2


Catalogue No: DDA 25148
EAN/UPC: 809730514821
Composers: , , , , , ,
Release Date: June 2017
Discs: 1
Total Playing Time: 79:54

Anthony Goldstone died on January 2, 2017 after a year-long battle with illness. This was his last recording, and is issued now also as a tribute and memorial to one of the greatest pianists of our age who never achieved the international recognition he deserved. His immense musical knowledge, assiduous research, and skilful artistry in both performance and also transcription brought him great acclaim in musicological circles.

Following the critical praise and commercial success of ‘Piano at the Ballet’ this sequel focuses on transcriptions of ballet music with French connections – through the composer or subject matter and includes both well known works and some refreshingly unfamiliar pieces, including program works by Debussy and Françaix later choreographed.

Track Listing

    Francis Poulenc: Les Biches

  1. I. Rondeau (3:28)
  2. II. Andantino (3:53)
  3. III. Final (3:59)
  4. Henri Sauguet: Les Forains

  5. I. Prologue (1:20)
  6. II. Entrée des Forains (4:37)
  7. III. Le Prestidigitateur (1:27)
  8. IV. Le Prestidigitateur et la Poupée (2:33)
  9. V. La petite fille à la chaise (1:47)
  10. VI. Visions d’art (3:03)
  11. VII. Le Cloune (1:23)
  12. VIII. Les Soeurs Siamoises (2:33)
  13. Jean Françaix: Serenade for Small Orchestra

  14. I. Vif (3:16)
  15. II. Andaninto con moto (2:40)
  16. III. Un poco allegretto (1:13)
  17. IV. Vivace (3:08)
  18. Maurice Thiriet: L’Oeuf à la Coque

  19. I. Metamorphose des poules (3:29)
  20. II. Variation I: Boite à musique (2:14)
  21. III. Variation III (Valse lente) (1:45)
  22. IV. Cancan final endiable (2:41)
  23. Boris Asafiev: The Flames of Paris — Pas de Deux

  24. I. Introduction – Allegro moderato (1:27)
  25. II. Philippe’s Variation – Allegro molto moderato (0:57)
  26. III. Jeanne’s Variation – Allegro (1:12)
  27. IV. Coda – Allegro (2:04)
  28. Claude Debussy: Printemps

  29. I. First part (8:33)
  30. II. Second part (6:50)
  31. Igor Stravinsky: Pulcinella

  32. I. Allegro moderato, mezzo-forte e staccato-Allegro (2:35)
  33. II, Gavotta, Variation I, Variation II (3:57)
  34. III. Vivo (1:48)



Goldstone shows us a good time with this last disc of his. If Goldstone was ailing when he recorded this disc, there’s no sign of it in his playing. Everything is up to his high standards. You’ll feel like you’ve been taken on a unique and interesting trip to France by an agreeable, experienced tour guide. Thank you, Anthony Goldstone.

” —Raymond Tuttle
The Whole Note

Goldstone’s playing at age 72 is simply incredible. Speed, reach, accuracy and, above all, unerring musicality mark every transcription he performs. The music tends, understandably, to be extremely athletic and Goldstone’s level of sustained energy is impressive.

” —Alex Baran
American Record Guide

Piano at the Ballet, Vol. 2 is a fitting finale to a great recording career. It is sort of an appendix to a trio of recordings titled “The Piano at the Ballet, Opera, and Carnival”. The entire program is balanced and a continuous joy to listen to. Recorded sound and liner notes are up to the highest standards.

” —James Harrington
MusicWeb International

The playing on this disc by the late Anthony Goldstone is stunning from the first note to the last.This is an outstanding disc that introduces the listener to a wide conspectus of French ballet music… every note is played with style, technical ability and downright enthusiasm. The sound quality of this Divine Art disc is first-rate… The liner notes by Jeremy Nicholas are excellent

” —John France
The Chronicle

A charming piece of entertainment, in which complex music is reduced to an accessible essence so well crafted it almost seems lightweight. It’s all delightful. Goldstone plays superbly, as befits a man designed for pianos… a rather wonderful CD.

” —Jeremy Condliffe
BBC Music Magazine

A rich serving of French and French-inspired delights, all recorded in their solo piano arrangements for the first time.

” —Oliver Condy