Ronald Gorevic

Ronald Smith is best remembered as the pianist who reintroduced the complex, but fantastic compositions of Charles-Valentin Alkan to the world in the 1960s, some 90-120 years after they were first written and 40 years after Alkan's previous great champion, Ferruccio Busoni, had died. Smith received his first piano lessons from his mother and when he entered school, others recognized his talent as well.

Ronald Smith is best remembered as the pianist who reintroduced the complex, but fantastic compositions of Charles-Valentin Alkan to the world in the 1960s, some 90-120 years after they were first written and 40 years after Alkan's previous great champion, Ferruccio Busoni, had died. Smith received his first piano lessons from his mother and when he entered school, others recognized his talent as well.

Another collection of favourites from an earlier generation—indeed from three earlier generations. Again the titles may not be familiar but in most cases the melodies will be. In Party Mood, for instance, may furrow a few brows until it starts to play, when it's safe to say that everybody in Britain over a certain age will immediately recognise it as the signature tune of the BBC's long-running 'Housewives Choice'. Alpine Pastures (1955) will be scarcely less familiar through its use as signature tune of another long-running radio series, 'My Word'.

Britain has a fine tradition in the creation of quality light music of the sort that plumbs no intellectual or emotional stimulation, but lifts the spirits with ingratiating melodies decked out with consummate craftsmanship. In this collection are gathered some of the classics that the genre has produced over a period from Victorian times to the second Elizabethan age.

The pairing of Francis Poulenc and Reynaldo Hahn on this album may seem contrived merely because of biographical parallels between the two men, for their musical approaches and styles are quite different, if not at odds. Poulenc's neo-Classical, self-conscious parodies in the Sinfonietta and the dry, sarcastic wit of the Aubade are a world away from Hahn's pretty, even precious, Romanticism, which is unabashedly on display in La bal de Béatrice d'Este. However, the discerning listener may find in Poulenc streaks of Hahn's pensiveness and languor, which his comic antics never completely conceal; there is in Hahn a buoyant, diatonic tunefulness that is readily found in Poulenc. (Interestingly, some of Poulenc's adaptations of Renaissance music bear a remarkable similarity to Hahn's antique pastiches in this ballet.) Furthermore, their fondness for unusual chamber combinations is striking, and the transition from the Aubade to La bal de Béatrice d'Este is not at all jarring because they both share the charm and ambience of the salon orchestra.