MUSICAL OPINION:
If the above list of composers looks somewhat bizarre as a collection for a single CD, in practice this is a most successful record. This is because Anthony Goldstone takes each work entirely on its own merits, with the result that those pieces not requiring intellectual debate are also given their due measure. I am full of praise for his unusual juxtaposition of repertoire.

This is a genuine recital programme, made more important in discographical terms for containing three world premiere recordings: transcriptions of Khachaturian's suite and Dvorak's Carnival Overture (made contemporaneously with their composition) and Sydney Smith's brilliant fantasy. I'd like to see more of Smith's work on record – was he not the first composer to make a million pounds from sales of his sheet music? What is particularly impressive is that the really serious music here, by Schumann, Chopin and Liszt, all receives excellent performances by this admirable artist.

This is strongly recommended.
Robert Matthew-Walker

FANFARE:
Inspired programming from Divine Art, here. The arrangement of the famous Khachaturian suite is by Alexander Paylovich Dolukhonian (1910-68), husband of the famous mezzo Zara Dolukhanova and, apparently, chess champion of Armenia in the late 1920s. It is a marvelously managed transcription, lightly edited here by the present pianist, Anthony Goldstone. This is a premiere recording, and well worth seeking out, not least for the brightly lit exuberance of the third-movement Mazurka. Goldstone also conveys the sweet melancholy of the Nocturne and the Romance well, while the madcap antics of the final Galop are pure fun.

The mainstay of this recital is, of course, Schumann's magnificent op. 9 Carnaval . Here Goldstone's pianistic fluency serves him well. Schumann's perilous leaps are made to sound easy. The capricious “Arlequin” has a real spring in his step: “Eusebius” is wonderfully ruminative (although the slightly dry acoustic of St. John the Baptist Church, Alkborough, robs the music of some of its wonder). Most importantly, Goldstone is able to maintain clarity of articulation at considerable speed. Perhaps Goldstone's accents in the final “Marche des Davidsbündler contre les Philistins” are a touch on the barbaric side, but this remains impressive nonetheless.

Goldstone does not head the list with his Schumann, but this is a notable, and often beautiful, reading. I agree with Susan Kagan about the integrity of Myra Hess in this piece. Kagan was reviewing the Philips “Great Pianists of the Century” release in Fanfare 23:3; I would like to add the Music & Arts BBC performance of October 1950 on PR 5646.

The Chopin Souvenir de Paganini (on Carnival of Venice ) is a beautiful way to follow. Goldstone's fluid legato is a joy. Goldstone entertains still more in the Liszt Hungarian Rhapsody . Occasionally he is a little dry of pedal, but still it is easy to revel in the sheer virtuosity of it all. He is no Cziffra (EMI), to be sure, but his remains an exhilarating ride, and to Goldstone's credit he seems intent on underlining the more progressive writing contained here.

English-born Sydney Smith (1939-89) was a pupil of Moscheles. His brief Fantaisie brillante on Verdi's “Ballo ” (1961) takes three numbers from act I: “O figlio d'Inghilterra,” “La revedrà nell' estasi,” and “Alla vita che t'arride.” This is a modern premiere recording (there was a piano roll made in around 1919). Goldstone has the time of his life. In his notes, Goldstone makes the point that “the sparkling coda reveals Smith's familiarity with Mendelssohn's piano concerto.” I would argue the influence is detectable elsewhere, also. Finally, an arrangement of Dvorák's Carnival Overture by Paul Klengel (1854- 1935). Readers may be more familiar with Paul's brother, Julius (1859-1933): Christopher Williams reviewed a disc of Julius's cello concertos issued on cpo in Fanfare 25:6. Paul's arrangement of Dvorák's masterpiece of festivity results, alas, in one of the more unimaginative experiences of the album. A shame, as this is the last music we hear. Buy this disc, instead, for the Khachaturian and the Smith, and be entertained along the way by the Schumann, the Chopin and the Liszt.
Colin Clarke

INTERNATIONAL PIANO:
Schumann's piano writing is among the most physically challenging (not to say exhausting) to master and intellectually exacting to disentangle. Unlike, say, Chopin, Liszt and Mendelssohn, whose leading voices are almost invariably clearly differentiated on the page, in many cases one has to place Schumann's notes under the fingers before the process of weighting and counter-weighting can begin. To clarify Schumann's middle-register saturated textures and make them sparkle is a challenge that Anthony Goldstone rises to with exhilarating aplomb in Carnaval. Even the densest of musical terrain possesses a ringing vibrancy, and such athletically virtuoso outbursts as ‘Papillons', ‘Pause' and the final coda are thrown off with thrilling abandon.

Goldstone proves no less assured and inspired in the camp melodrama of Liszt's ‘Carnival of Pesth' (Hungarian Rhapsody no. 9), in which he exchanges Cziffra's demonic glitter for a relaxed swagger, sustained by a gloriously rounded cantabile that possesses just the right degree of excited intensity. Chopin's Souvenir de Pagnani is dispatched with aristocratic nonchalance, its right-hand filigree shaped and timed to perfection, while the first recording of Sydney Smith's Fantasie brillante on Verdi's Un ballo in maschera since the original 1919 piano roll is an uproarious pot-pourri of gloriously uninhibited virtuoso pianism.

Book-ending the recital are two piano transcriptions of orchestral originals; if the final section of Paul Klengel's merciless transcription of Dvorák's Carnival Overture might have been projected even more excitedly, Goldstone brings Khachaturian's Masquerade Suite whirling to life with exhilarating playing that reminds one of the old quip that the piano is at heart an ‘orchestra in a box'. Goldstone's extensive booklet notes are also a model of enlightening erudition. Bravo!
Julian Haylock

CLASSICALNET:
This CD is truly a pleasure from first note to last and is the ideal successor to the sensational "A Night at the Opera" ( Divine Art DDA25067) which was so well received a few months back. With his unique style and deftly nimble fingerwork, Anthony Goldstone brings these works to life in an uncanny manner.

Khachaturian's Masquerade Suite moves along at a merry dance-like pace with Schumann's "Carnival" equally invigorating with the bursts of irrepressible energy wonderfully tamed by the more reflective and pensive moments. The short "Souvenir de Paganini" by Chopin is also beautifully played with its dazzling scales almost taking one centuries back right into the atmosphere of a Venetian carnival.

Liszt's Hungarian Rhapsody #9 is another beautiful work which comes alive in Goldstone's fingers but the real gem here is the rediscovery of Sidney Smith's Fantaisie on Verdi's "Ballo", a true period piece if there was any. All is rounded off with a spanking transcription of Dvorák's immortal "Carnival" Overture, arranged by Paul Kliegel, which is the ideal conclusion to what is truly a memorable disc. Goldstone contributes exhaustingly detailed and stylish notes which are as important to the disc almost as the music itself. I really cannot recommend this issue too highly both for lovers of the piano as well as anyone who simply loves some good music.
Gerald Fenech

MIDWEST RECORD joint review of 25067, 25073, 25076:
An initial impulse is to decry the foul economy and say that in a perfect world  this would have been a mighty box set.  On second thought, who needs that cleverness?  The only unifying factor on these three sets is that Goldstone proves he can play anything with such absolute mastery, subtly and style.  Taking his piano wizardry to familiar themes in the various genres he presents, each one is just such a joy that you could put them on your Ipod shuffle and not miss a beat as they play randomly.  A great talent at the top of his stride, there is simply nothing on any of these three sets that isn't enjoyable, probably by anyone.  This is great music to just sit back and let it wash over you.
Chris Spector

GRAMOPHONE:
An ingenious programme combining the familiar with a clutch of novelties.

After “A Night at the Opera” (A/08), the piano comes to the carnival. Next year we are promised a trip to the ballet. In another of his typically imaginative and enterprising programmes, Anthony Goldstone frames three familiar piano carnivals (those by

Schumann, Chopin and Liszt) with three world premieres: a transcription of Khachaturian's Masquerade Suite by Alexander Dolukhanian (1910-68); the Fantasy on three themes from Verdi's Un ballo in maschera by Sydney Smith (1839-89), the Dorset-born pupil of Moscheles famous for his once-popular myriad works that combined “a maximum of brilliancy with a minimum of difficulty” ( Grove , 1899); and Dvorák's Carnival Overturn ingeniously transcribed by Paul Klengel.

There is no lack of flair and finesse in the performances, among them the first I have ever heard of the Chopin variations played at what was surely the intended (brisk) tempo. At times, though, a certain doggedness creeps into the execution. It is not lack of fluency or musicality but, noticeably in the Dvorák arrangement and sections of the Schumann, the feeling of a job being done. Perhaps Goldstone has taken on too much too quickly, for his laudable eagerness to share his wide-ranging enthusiasms sometimes results in efficient rather than inspired performances. On this occasion, the piano (a Grotrian of no specified vintage) sounds as though it needs new felts; it lacks the richness of tone of some other makes – or at least sounds so as recorded here. Nevertheless, an enjoyable disc-with-a-difference complemented by the pianist's own exemplary booklet.
Jeremy Nicholas

MUSICWEB:
Anthony Goldstone is something of a miracle. He has recorded over seventy CDs - some solo and some as a duet - being half of the Goldstone and Clemmow (his wife Caroline) duo. He learns quickly and is willing to explore a wide and often untapped repertoire. The back of the booklet proclaims “This is one of a series of three CDs containing rare and dramatic transcriptions and paraphrases”. There are some pieces here that I never dreamt could exist for solo piano. And above these words is a sketch of one Paul Klengel, a highly regarded transcriber who turns the Carnival Overture of Dvorak into an amazing romp, well beyond the ability of most pianists. This work, which ends the disc in a flourish, sums up the whole enterprise.

All of the pieces have a connection with carnival and general gaiety. Aram Khachaturian's ‘Masquerade Suite' was compiled from music for his full-length ballet. Alexander Pavovich Dolukhanian who transcribed the five sections recorded here was Armenia's Chess Champion at one time. As if the transcription wasn't busy enough Goldstone comments in his notes that “I have made modifications in order … to restore orchestral detail omitted by Dolukhanian for the purpose of simplification”!. Brought up on the old Light Programme as I was, the opening Waltz, regularly heard, is an old favourite. There follows a Nocturne, a Mazurka, a gorgeous Romance and then a hectic Galop.

Sydney Smith was the darling of society ladies. Apparently his music sounded very challenging but “had a minimum of difficulty” according to a contemporary critic but even Anthony Goldstone admits that his ‘Fantaisie' is “quite difficult”. Three themes are played within this pot-pourri. In addition a seamlessly flashy coda is appended making a satisfactory conclusion. I would like to hear more of Sydney Smith.

In 1829 Chopin heard Paganini play a set of variations around the barcarolle called ‘Le Carnival de Venise' and was astonished by his virtuosity. He attempted a (brief) work of his own on this famous theme in homage to the great violinist.

Some composers made transcriptions, as it were, of their own music, Liszt who regarded himself at the time as the Paganini of the piano wrote no less than nineteen ‘Hungarian Rhapsodies'. This one “Carnival of Pesth” is neatly organized with a main melody which reminds me, I'm afraid, of ‘There's no place like home'. Goldstone's notes analyse the music nicely without being too technical and he slides over the virtuosity making the piece sound quite facile.

This stuff is all very well, I hear you cry, but what about a bit of substance? Well that is provided by Schumann's ‘Carnaval', his set of twenty quirky, individual - indeed eccentric - piano pieces. It's entirely possible that you already have a recording of this piece, say on an all-Schumann disc. At thirty minutes in length it does take up almost one third of the CD. Yet there is little amiss about Goldstone's performance. You might feel, like me, that a little more humour is needed in the Pierrot and Arlequin movements which are a touch heavy-handed. You may want a little more tenderness in 'Chiarini' a code word for Clara (Wieck - later Schumann). Paganini makes another appearance in the ‘Valse Allemande' which perhaps could be a little more flashy. Nevertheless there are many good moments too. Schumann's two egos, Eusebius and Florestan, are well characterized and the virtuoso ‘A pause' comes out brilliantly. The finale ‘Marche' brings the sequence to a spirited end.

Something of an unusual disc, but nicely planned and shedding some fascinating insights on the whole idea of a ‘mardi-gras' for piano solo. Perhaps you might feel that it's a bit of a ‘dog's dinner' but my wife is going to play it “often” in the car she says. I hope that the Carnival atmosphere does not affect her driving too much.
Gary Higginson 

LIVERPOOL DAILY POST:
Liverpool-born pianist, Anthony Goldstone, has a new release entitled The Piano at the Carnival. Yes Schumann's Carnaval is here, a piano arrangement of Khachaturian's Masquerade Suite, a Carnival of Venice by Chopin, Carnival of Pest by Liszt, a Fantasy on Verdi's A Masked Ball by Sydney Smith and Dvorák's Carnival Overture. A remarkable box of rare goodies is this, played with stunning virtuosity on the Divine Art Label, a fine gift for any piano lover this Christmas.
Peter Spaull

OZ ARTS REVIEW:
Anthony Goldstone is one of the most resourceful pianists currently before the public. He has done wonders over years resurrecting music which, for one reason or another, has fallen into disuse. Indeed, the only tracks here that could be thought of as main stream repertoire are those devoted to Schumann's Carnival which, of course, is available in umpteen other versions on CD.

It's the rarities that are the main fascination of this recording.

Sydney Smith's Fantaisie brillante on Verdi's Un Ballo in Maschera, for instance, is claimed as a first ever on record apart from a piano roll made circa 1919. Some might tut tut at its often superficial writing which it would not be inaccurate to describe as frankly cheap salon material – but its sometimes schmaltzy measures are offered with such gusto and brilliance that its inherent shallowness is forgotten for the duration of the performance. And in a first ever recording of Paul Klengel's arrangement of Dvorak's Carnival Overture, Goldstone seems positively to relish coming to grips with its many keyboard challenges. He emerges unscathed from this traversing of a treacherous musical landscape with ebullient, admirably buoyant, playing that marshals avalanches of notes with immense flair.

I liked particularly the skill that Goldstone brings to Chopin's Souvenir de Paganini (The Carnival of Venice), its much loved theme presented in gorgeous filigree terms with fine tonal light and shade, the composer's idiosyncratic harmonies contributing to most satisfying listening. But an account of Liszt's Hungarian Rhapsody No 9 (The Carnival of Pesth) tends to ramble in a reading where the soloist might to advantage have surrendered more fully to the Muse.

Khatchaturian's Masquerade Suite is known to millions in its original incarnation for orchestra. Here, Goldstone gives us the premiere recording of Alexander Dolukhanian's version of the suite for solo piano. Each of the five movements is finely considered with the concluding Galop a particular delight: the playing is informed by immense brio before a brief moment of reflection, then an all-stops-out conclusion at top speed at high decibel levels.
Neville Cohn