Philip Martin - Mayerl: Piano Music, Vol. 1-2 (2014, 2016)

Tracklist

01. Autumn Crocus
02. Wistaria
03. Evening Primrose
04. Aquarium Suite: I. Willow Moss (Version for Piano)
05. Aquarium Suite: II. Moorish Idol (Version for Piano)
06. Aquarium Suite: III. Fantail (Version for Piano)
07. Aquarium Suite: IV. Whirligig (Version for Piano)
08. Aquarium Suite: V. Marigold (Version for Piano)
09. Aquarium Suite: VI. From a Spanish Lattice (Version for Piano)
10. Puppets Suite: I. Golliwog
11. Puppets Suite: II. Judy
12. Puppets Suite: III. Punch
13. Weeping Willow
14. Railroad Rhythm
15. Siberian Lament
16. 3 Contrasts: No. 1, Ladybird
17. 3 Contrasts: No. 2, Pastoral
18. 3 Contrasts: No. 3, Fiddle Dance
19. Harp of the Winds
20. Shallow Waters
21. Robots, Op. 81

This is SOMM’s second CD of music by the legendary Billy Mayerl, one of the most successful and brilliantly gifted composer-pianists of his generation – the generation that spanned the Second World War. Mayerl’s twice-weekly radio programmes became compelling listening for literally millions of Britons, both here and on the Continent and his reputation lasted from the mid-1920s until his death in 1959. Mayerl was born in 1902 in central London’s Tottenham Court Road. Such was his development that in 1909 Billy was enrolled at the Trinity College of Music in Mandeville Place and within two years, at the age of nine, he was the soloist at Queen’s Hall in London in Grieg’s Piano Concerto (he was to play the concerto twice in performances for the BBC, in 1931 and 1936). But a far more significant experience was when he came into contact with early pre-World War I syncopated popular music and was immediately captivated.

Having left the Trinity College at the age of 16, already an accomplished pianist, he spent almost every day accompanying silent films in cinemas and playing the piano in music hall theatres. He would embroider the music with decorative runs and subtle gradations of tone, earning a growing reputation as a dazzling pianist and entertainer. In the early 1920s he began to broadcast frequently with the Savoy Hotel Havana Band (over 5,000 Broadcasts for the BBC, through his career), also recording for English Columbia and later for His Master’s Voice. By the age of 23 he had met Gershwin in London and entranced him so much with his brilliant playing of Fascinatin’ Rhythm that Gershwin entrusted him with the British premiere of his Rhapsody in Blue, which he gave at Queen’s Hall conducted by Debroy Somers.

As a composer, Mayerl produced over 300 piano pieces and more than 100 song arrangements with Marigold becoming his most famous of all. His pieces feature some of the Mayerl trademarks of lively syncopation, nimble triplets and memorable melodies underpinned by rich harmonies, all requiring virtuosity of a high order. Apart from his instant and subtle melodic appeal, the way each piece is so well laid out for the keyboard reveals a composer thoroughly at home with the instrument, as we can hear in this new selection where Philip Martin plays five of the composer’s suites alongside four solo pieces.

01. Insect Oddities: I. Wedding of an Ant
02. Insect Oddities: II. Ladybird Lullaby
03. Insect Oddities: III. Praying Mantis
04. Insect Oddities: IV. Beetle in the Bottle
05. White Heather
06. Nimble-Fingered Gentleman
07. Song of the Fir Tree
08. Jasmine
09. The Big Top Suite: I. The Ringmaster
10. The Big Top Suite: II. Clowning
11. The Big Top Suite: III. Entrance of the Trick Cyclists
12. The Big Top Suite: IV. Dancing Horse
13. The Big Top Suite: V. Trapeze
14. 6 Pianolettes: I. Virginia Creeper
15. 6 Pianolettes: II. All-of-a-Twist
16. 6 Pianolettes: III. The Jazz Master
17. 3 Japanese Pictures, Op. 25: I. Almond Blossom
18. 3 Japanese Pictures, Op. 25: II. A Temple in Kyoto
19. 3 Japanese Pictures, Op. 25: III. The Cherry Dance
20. 3 Syncopated Rambles: I. Junior Apprentice
21. 3 Syncopated Rambles: II. Printer's Devil
22. 3 Syncopated Rambles: III. Milkman 6:00 A.M.

This is SOMM’s second CD of music by the legendary Billy Mayerl, one of the most successful and brilliantly gifted composer-pianists of his generation – the generation that spanned the Second World War. Mayerl’s twice-weekly radio programmes became compelling listening for literally millions of Britons, both here and on the Continent and his reputation lasted from the mid-1920s until his death in 1959. Mayerl was born in 1902 in central London’s Tottenham Court Road. Such was his development that in 1909 Billy was enrolled at the Trinity College of Music in Mandeville Place and within two years, at the age of nine, he was the soloist at Queen’s Hall in London in Grieg’s Piano Concerto (he was to play the concerto twice in performances for the BBC, in 1931 and 1936). But a far more significant experience was when he came into contact with early pre-World War I syncopated popular music and was immediately captivated.

Having left the Trinity College at the age of 16, already an accomplished pianist, he spent almost every day accompanying silent films in cinemas and playing the piano in music hall theatres. He would embroider the music with decorative runs and subtle gradations of tone, earning a growing reputation as a dazzling pianist and entertainer. In the early 1920s he began to broadcast frequently with the Savoy Hotel Havana Band (over 5,000 Broadcasts for the BBC, through his career), also recording for English Columbia and later for His Master’s Voice. By the age of 23 he had met Gershwin in London and entranced him so much with his brilliant playing of Fascinatin’ Rhythm that Gershwin entrusted him with the British premiere of his Rhapsody in Blue, which he gave at Queen’s Hall conducted by Debroy Somers.

As a composer, Mayerl produced over 300 piano pieces and more than 100 song arrangements with Marigold becoming his most famous of all. His pieces feature some of the Mayerl trademarks of lively syncopation, nimble triplets and memorable melodies underpinned by rich harmonies, all requiring virtuosity of a high order. Apart from his instant and subtle melodic appeal, the way each piece is so well laid out for the keyboard reveals a composer thoroughly at home with the instrument, as we can hear in this new selection where Philip Martin plays five of the composer’s suites alongside four solo pieces.

DOWNLOAD ALBUM [flac] vol 1

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