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Mark Anderson brings a compelling grandeur and eloquent fervour to Copland's most imposing Sonata of 1939-41 (apparently Leonard Bernstein's favourite work), achieving a splendid concentration and unforced gravitasin the riveting concluding Andante Sostenuto in particular. In the frustrating continuing absence of Peter Lawson's Virgin Classics account (5/91), this must now assume top-ranking status. The Sonata is preceded by an extremely touching performance of Copland's Four Piano Blues (completed in 1948 but spanning some 22 years), and Anderson rounds off his recital with the same composer's mischievous 'Scherzo humoristique' entitled The Cat and the Mouse (his first published work, dating from 1920).

As for the Gershwin items, the gorgeous centre-piece of the Three Preludes has just the right blend of seductive glow and soulful langour, while the ten song arrangements published under the title of 'Broadway Showstoppers' make a delicious sequence (I particularly like Anderson's 's Wonderful, bright and chipper rather than indulgently swooning). The effective transcription of An American in Paris was made by William Daly, a friend of the composer who attended every rehearsal of Gershwin's exhilarating evocation. We are told that Anderson contributes a healthy sprinkling of his own editorial ideas ('which he believes benefit this version, including a number of otherwise missing parts'); note, too, the extra expressive freedom a single performer can impart to the glorious central blues melody.

There is rather more than a hint of strain in any heftier tuttis throughout; otherwise, the sound is eminently truthful and the audience impeccably behaved (and, I should add, rightly appreciative). AA

American pianist Mark Anderson has been gathering some very positive notives of late, and this new CD reveals an impressively solid technique linked to what is a bright, judicious interpretaive personality.

The programme here (played live) is split 50-50 between Copland and Gershwin, and it is the Copland peices which are particularly interesting, especially the Piano Sonata, This is a tricky peice to pitch in terms of idiom, but Anderson marries its elements of rhythmic modernism with the jazz-blues-based melodic influences very well,. and keeps the unusual structure of the movements (slow-fast-slow) under impressive overall survey, In the Four Piano Blues he again shows finely balanced sensibvilities, allowing plenty of expressive flexibility without ever sacrificing the music's necessary sense of flow.

The Gershwin I find less impressive, too often over-emphatic and with a studied attitude to rubato. The resonant and over-blown recorded sound, however, bothered me more: I'm not the first reviewer to complain about this aspect of Nimbus presentation, nor, almost certainly will I be the last. Terry Blain

If you prefer American music from an earlier vintage, Mark Anderon's find playing graces his chloice of piano music by Copland and Gershwin. Copland's Piano Sonata is so impressive, particularly the slow and veautiful third of its three movements, that I can't think why it isn't better known. His Four Piano Blues, too, are a treat; and Gershwin's Three Piano Preludes and song arrangements come up sounding as fresh as ever.

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