Mario Castelnuovo-Tedesco: Complete Works for Cello and Piano
Catalog Number: J132

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ARTISTS
Frederick Moyer, PIANIST
Nancy Green, CELLIST
 
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REPERTOIRE
Toccata, Op. 83 (1935)
Cello Sonata, Op. 50 (1928)
I Arioso e sereno (un poco mosso)
Arietta con variazioni: Allegretto grazioso e un poco malinconico
Scherzino, Op. 82b (1935)
I Nottambuli (Variazioni fantastiche), Op. 47 (1927)
Notturna sull’acqua, Op. 82a (1935)
Valse on the name of Gregor Piatigorsky (1954)
Paraphrase on Rossini’s “Largo al factotum”
 
When a composer is extraordinarily prolific, there’s always a temptation to classify his achievement and stylistic outlook on the strength of a few well known pieces. This is certainly the case with the Italian-American Mario Castelnuovo-Tedesco whose chief claim to fame rests on the First Guitar Concerto and a number of other guitar works which are highly venerated by soloists throughout the world. The overwhelming popularity of such compositions has inevitably led to the notion that Castelnuovo-Tedesco was primarily a composer of guitar music. Yet a brief glance at his varied output demonstrates this to be wholly misleading. Indeed Castelnuovo-Tedesco seems to have been interested in a vast range of genres, tackling both large-scale works such as operas, film scores, oratorios and concerti as well as piano miniatures, chamber music and song. 
 
“It must be grateful, enjoyable music to play, with its highly varied impressionistic piano sonorities and idiomatic cello writing, and Nancy Green and Frederick Moyer take full advantage with performances of panache and expressive force.” GRAMOPHONE

“Gratifying and idiomatic writing for both cello and piano…a most attractive disc. Good sound. Well worth exploring.” FANFARE MAGAZINE

“I cannot imagine the music being much better played than it is here…(Nancy Green) has a seemingly effortless tone production and maintains the fine form she has shown in previous Biddulph Productions…Frederick Moyer matches her well and has some good ideas of his own - I especially like his buoyant playing in the Rossini paraphrase.” STRAD MAGAZINE (May 1999)