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Артист: Moszkowski & Paderewski Альбом: The Hyperion Romantic Piano Concerto series: Volume 1: Moszkowski & Paderewski Piano Concertos, 1991 Жанр: classical music Формат файла: EAC, FLAC + LOG, BOOKLET VOL1 RE-SEED CD VOL2: CD VOL3: CD VOL4: CD VOL5: CD VOL6: CD VOL7: CD VOL8: CD VOL9: CD VOL10: CD VOL11: RE-SEED CD VOL12: RE-SEED CD VOL13: RE-SEED CD VOL14: CD VOL15: CD VOL16: CD VOL17: CD VOL18: CD VOL19 RE-SEED CD VOL20: CD VOL21: CD VOL22: CD VOL23: CD VOL24: CD VOL25: CD VOL26: CD VOL27: CD VOL28: CD VOL29: CD VOL30: CD VOL31: CD VOL32: CD VOL33: CD VOL34: CD VOL35: CD VOL36: CD VOL37: CD VOL38: CD VOL38(Hybrid SACD): CD VOL39: CD VOL40: CD VOL41: CD VOL42: NEW! CD

A big thanks to the original uploader for His kind permission to upload this torrent!!!

Большое спасибо первоначального аплоадера за его любезное разрешение
залить этот торент и использовать его материалы!!!



Introducing

The Hyperion Romantic Piano Concerto series

Volume 1: Moszkowski & Paderewski Piano Concertos


Of the myriad Piano Concertos composed in the second half of the 19th century all but a handful are forgotten. The survivors are played with a regularity that borders on the monotonous – the ubiquitous Tchaikovsky No. 1, the Grieg, Saint-Saлns’s second in G minor, the two by Brahms and, really, that is just about all there is on offer. Pianists, promoters and record companies play it safe and opt for the familiar. Even a masterpiece can become an unwelcome guest, especially when subjected to an unremarkable outing by yet another indifferent player, as happens so frequently today. How refreshing, then, to have the dust brushed off ... forgotten specimens of late 19th century piano concertos and rendered clean and polished for inspection again. Refreshing and rewarding, for they are exactly the sort of pieces that make one wonder why we are forced to live off such a limited concerto diet. How is it that such appealing, well-crafted, imaginative works with their high spirits and luscious tunes could have vanished from the repertoire? .. What is it about them that has failed to put them in the classical pop charts? Listening to them afresh it is a teasing question to answer; the longer one ponders the matter, the fewer become the justifiable, verifiable reasons why today’s audiences so rarely have the opportunity to enjoy works such as these delightful crowd-pleasers. It is time for those who promote and play piano music to be more adventurous and imaginative in their programming."
© 1991 Jeremy Nicholas, excerpt from the booklet notes





Moritz Moszkowski
(Breslau, August 23, 1854 - Paris, March 4, 1925)
Piano Concerto in E major, op. 59 (1897-98)
I. Moderato [13:07] - II. Andante [8:17] - III. Scherzo : Vivace [6:31] - IV. Allegro deciso [9:16]

Ignacy Jan Paderewski
(Kurylowka, Podolia, November 6, 1860 - New York, June 29, 1941)
Piano Concerto in A major, op. 12 (1888-89)
I. Allegro [16:29] - II. Romanza : Andante [10:08] - III. Allegro molto vivace [8:32]

Piers Lane, piano
BBC Scottish Symphony Orchestra
Jerzy Maksymiuk

Recorded in City Hall, Glasgow on 3, 4 June 1991
Recording engineer, Tony Faulkner. Recording producer, Martin Compton
© 1991 Hyperion Records Ltd. CDA66452


‘Performances of exceptional poetry and virtuosity and the recording is first class. Strongly recommended’ (The Good CD Guide) ... ‘Played with this degree of flair and passion it’s all one can do to keep one's hands off the repeat button’ (Piano International) ... ‘Outstandingly performed and recorded ... An absolute winner. I can’t wait for the new items in the series’ (CDReview) ...
‘Unassailable technical qualifications, state of the art sound and a first-rate orchestra’ (Fanfare, USA)

It would be hard to imagine a more auspicious debut for Hyperion’s series "The Romantic Piano Concerto" than Piers Lane’s poetic and scintillating account of both the Moszkowski and Paderewski piano concertos. Written at a time when whirlwind virtuosos were two a penny, both works, particularly the Moszkowski, resolve their fearsome acrobatics in music of exceptional grace and fluency; qualities revered before they were superseded by altogether more strenuous and sombre virtues. Such music was once extensively served in a previous romantic revival by pianists, including Raymond Lewenthal and Michael Ponti, whose brittle and often savage brilliance was high on energy but short on charm. And clearly, such music requires very special handling and commitment if its oddly endearing mix of naivety and sophistication, cunning and obviousness, is not to degenerate into emptiness or triviality. – From Lane the Moszkowski, where ideas are so lavishly protracted, seems not a note too long. His virtuosity is altogether more pliant and musical than Michael Ponti’s on his long deleted Vox recording and more elegant and affectionate than David Bar-Illan on his Audiofon CD. His first entry at once provides a case in point, being both subtle and dramatic, and invitations to play grazioso (3’49"') or to treat some Chopinesque tracery con eleganza are met with exceptional finesse and poetic vitality. In the Scherzo Moszkowski presents sunny Italianate clichйs without even a trace of irony (a far cry from Busoni’s dark and menacing way with such conventions in his massive and daunting Piano Concerto) and here Lane is vivace indeed, whirling his way through every intricacy with a luminous and immaculate brio. Only his opening to the finale –a tune to set even the most jaded heads nodding along and tired feet tapping – is less than ideally poised, is insufficiently con forza or deciso as marked. But in the subsequent leggiero second subject his fine-spun tone and rippling dexterity are enchanting.

The same virtues colour Lane’s performance of the Paderewski Concerto, though here his occasional reticence is emphasized by a balance that allows too little decorative detail to be savoured; a piano sound unduly recessed, most notably in the first movement cadenza. Yet once again the playing is as masterly as it is self-effacing and in the central Romanza, music to soothe the savage breast and one of Paderewski’s happiest inspirations, his warmth and flexibility are beautifully apt. However, I’m bound to say that when compared to Earl Wild’s legendary RCA account of both the Polish Fantasy and the Concerto (unforgivably unavailable and awaiting transfer to CD) even Lane, for all his skill, can hardly compete with such larger-than-life brilliance, particularly in the Concerto’s finale, where Wild’s glitter (greatly admired by Horowitz among others) is of the sort dreamed of rather than achieved by his younger colleague... None the less I have few reservations in recommending the Hyperion disc. From Lane you remember the poetry even more than the fireworks, a very special accomplishment. He is stylishly and accurately partnered by Jerzy Maksymiuk, so this is a distinguished start to what promises to be a delectable series.
Gramophone.co.uk





Three languages-, 20 pages-booklet in .pdf format included.
Complete details of the Romantic Piano Concerto project can be found
at the Hyperion Records website (Indexes – Collections)

QUOTE

Techne / The Romantic Piano Concerto, vol. 1 Extraction: Exact Audio Copy 0.95 beta 3 Used drive: PLEXTOR CD-R PREMIUM, Offset +30 Read mode: Secure with NO C2, accurate stream, disable cache Manually integrated natively-tagged .flac files through EAC proper additional commandline: [-8 -V -T "artist=%a" -T "title=%t" -T "album=%g" -T "date=%y" -T "tracknumber=%n" -T "genre=%m" -T "comment=Exact Audio Copy 0.95 b3 Secure Mode / FLAC q8 v. 1.1.2" %s] Full artwork included in .png and .pdf lossless format, scans at 600 dpi resized to 300.Text pages not descreened.

This post has been edited by yury_usa on 11-08-2007, 18:23

А можно без очереди? но оно как раз подходит к vol. 33, дополняя её! Hybrid Super Audio Compact Disc!



THE ROMANTIC PIANO CONCERTO

Vol 38 - Rubinstein & Scharwenka

SCHARWENKA Piano Concerto No 1 in B flat minor Op 32; ANTON RUBINSTEIN Piano Concerto No 4 in D minor Op 70
MARC-ANDRÉ HAMELIN piano
BBC SCOTTISH SYMPHONY ORCHESTRA
MICHAEL STERN

Track List:
Xaver Scharwenka
(1850-1924)
1. Piano Concerto No 1 in B flat minor†Op 32 [28'05] Allegro patetico [10'23]
2. Allegro assai [7'11]
3. Allegro non tanto - Allegro patetico (come prima) [10'21]

Anton Rubinstein
(1829-1894)
Piano Concerto No 4 in D minor†Op 70 [31'23]
4. Moderato assai [11'40]
5. Andante [10'38]
6. Allegro [8'58]

TORRENT

eDonkey Link 63 clicks

Гордый!!! Очень, очень!!! рад твоего включения!!! Релизы разные и из разных источниках. Так что все в порядке конечно!!!

Сейчась просто перезаливаю те волумы, которые потерялись при апгрейд трекера. Надеюсь также залеть всю серию в том виде, в котором начал, где то до середине августа!

This post has been edited by vpenev on 24-07-2007, 03:39

Замечательные планы!

НАЗДРАВЕ!!!

This post has been edited by vpenev on 24-07-2007, 05:40

Исправился, я вообще-то очень редко там бываю, кое-как нашёл кнопку редактирования!

vpenev
поправил шапку

yury_usa!!!Остается перезалить еще вол. 19. Добавь эго тоже после того как перезалею!
Тебе тоже НАЗДРАВЕ!!!

This post has been edited by vpenev on 24-07-2007, 05:39

yury_usa
Вот окончательный список:
Post Link: The Hyperion Romantic Piano Concerto series
Поправь плиз вол. 19 тоже в шапку, а этот пост + тот пост который содержит список, как и все и связаные с этим списком мои посты пошли к тю тю...

This post has been edited by vpenev on 25-07-2007, 03:12

ндааа... сильно. Будем брать.

Спасибо всем принявшим участие.

Рекомендую послушать 1 концерт Ксаверия Шарвенка (том 38), также очень хорош концерт Маккензи (том 19).
Я уже не говорю о выдающихся концертах Николая Карловича Метнера.
Стоит также обратить внимание на концерты Хензельта и Алькана.

The Hyperion Romantic Piano Concerto series

Volume 34: Pierne complete works for Piano and Orchestra



Henri Constant Gabriel Pierne
(Metz, Lorraine, August 16, 1863 – Ploujean, Finistere (Northwestern France), July 17, 1937)

Piano Concerto in C minor, op. 12 (1886-87)
I. Allegro [8:01] - II. Scherzando [4:35] - III. Finale [7:04]
Poлme Symphonique in D minor, op. 37 (1903) [13:02]
Fantaisie-Ballet in B flat major, op. 6 (1885) [11:20]
Scherzo-Caprice in D major, op. 25 (1890) [8:08]

Stephen Coombs, piano
BBC Scottish Symphony Orchestra
Ronald Corp

Recorded in Caird Hall, Dundee on 16, 17 May 2002
Recording engineer, Simon Eadon. Recording producer, Andrew Keener
© 2003 Hyperion Records Ltd. CDA67348

Too often the petits maоtres of French music have been written off as merely a kind of compost out of which the great masters bloomed, and the very fact that there have always been so many of them has also reduced their chances of receiving their due. Gabriel Piernй was a good deal more than compost. For nearly 50 years from 1890, when he took over from Cйsar Franck as organist at Ste Clotilde, to his death in 1937 he was a leading light of the French musical Establishment, as organist, conductor and composer. Nor was he any kind of stick-in-the-mud. In 1920 he conducted the premiиre of the first suite from Milhaud’s Protйe through prolonged whistling and booing: his response was to play the work again a week later.
Nothing on this disc is in any sense revolutionary, but we are able to follow the development of a real musician from apprentice work of the mid-1880s to maturity in 1903. It is curious to think that Piernй, a Prix de Rome winner in 1882, was at work on his Fantaisie-Ballet/ in the Villa Medici in Rome three years later while, in another room just along the corridor, Debussy was wrestling unsuccessfully with ideas that would eventually be subsumed into the Prйlude а l’aprиs-midi d’un faune. Piernй’s piece has quite a few jolly moments and is of its time in toying with modality, but at a little over 11 minutes it slightly outstays its welcome. The more serious Piernй is heard in the Piano Concerto of 1886/7, where C minor has its traditional effect, varied by a light scherzo clearly modelled on the one in Saint-Saлns’ Second Concerto, though understandably falling short of that master’s ability to conjure tunes out of nowhere or to tease the ear with new orchestral sounds. But three years can be a long time in an apprenticeship, and the Scherzo-Caprice of 1890 is far more assured. The melodic material is stronger, the textures more imaginative, and the whole thing is great fun. Piernй’s last work for piano and orchestra was the Poиme symphonique of 1903, the year he was appointed deputy director of the Concerts Colonne. This is a gloom-to-triumph piece in the best Beethovenian / Franckian tradition, and it is a real find. Whereas in his apprentice works Piernй had problems holding the form together, here everything flows naturally and convincingly, and the result is decidedly powerful. Stephen Coombs’s playing, like that of the orchestra, does everything for this music that one could ask, and the sound is well up to Hyperion’s usual high standard.
Roger Nichols, Gramophone / February 2004



Stephen Coombs

Gabriel Piernй’s music is exquisite, and it deserves far greater exposure than it normally receives. The C minor Piano Concerto is openly modeled on Saint-Saлns’ Second, particularly its Scherzando second movement, which is every bit as delightful as its model. A bit less than 20 minutes long, it has all of the best traits of French music: polish, craftsmanship, good tunes, and of course, concision. Stephen Coombs clearly sounds as though he’s enjoying himself with music designed to make the soloist look good, and the whole performance sparkles, with Ronald Corp leading lively accompaniments ... Of the remaining items, all done as well as the concerto, the Fantasie-Ballet and Scherzo-Caprice belong to a long and delightful list of short pieces (Saint-Saлns’ Wedding Cake is another) that never get performed at all, as they are not of concerto length and no soloist living today seems intelligent or enterprising enough to group three or four of them together to make a full program. They are immaculately written light pieces of great charm and melodic appeal. The Poлme symphonique is another story altogether: a grander, richer version of Franck’s Les йolides, and a miniature masterpiece if ever there were one. Beautiful recorded sound and excellent balances, especially in this last work where the piano plays constantly but seldom dominates the proceedings, cap as interesting and rewarding a program of unfamiliar music as we’re likely to find today. Pure pleasure!
David Hurwitz, ClassicsToday.com

... Stephen Coombs savours the more exotic keyboard writing with confidence and a sure sense of style, contributing appropriately dazzling and light-fingered virtuosity when required (International Record Review) ... This is the greatest thing since ice cream! ... Coombs and conductor Ronald Corp catch the concerto’s sly leg-pull and puff the airy graciousness suffusing these youthful pieces with soufflй-like savoir-faire (Fanfare, USA) ... Every track on this disc is an absolute winner. Stephen Coombs revels in the myriad of notes that tear around the keyboard in such light-hearted mood, the pro-active orchestral partnership captured in a superb recording (The Yorkshire Post - The Guide)

Three languages-, 16 pages-booklet in .pdf format included.
Complete details of the Romantic Piano Concerto project can be found
at the Hyperion Records website (Indexes - Collections)

A big thanks to the original uploader for his kind permission to upload this torrent!!!

Большое спасибо первоначального аплоадера за его любезное разрешение залить этот торент и использовать его материалы!!!

Качать ЗДЕСЬ.

This post has been edited by vpenev on 27-07-2007, 00:49

The Hyperion Romantic Piano Concerto series

Volume 35: Herz Piano Concertos no. 1, 7 & 8





Henri (Heinrich) Herz
Vienna, January 6, 1803
Paris, January 5, 1888

Piano Concerto no. 1 in A major, op. 34 (1828)
I. Allegro moderato [12:26] - II. Larghetto [4:59]
III. Allegro moderato [8:27]
Piano Concerto no. 7 in B minor, op. 207 (1864)
I. Allegro moderato [6:39] - II. Romance : Larghetto - Andantino cantabile [5:03]
III. Rondeau Espagnol : Allegretto [6:14]
Piano Concerto no. 8 in A flat major, op. 218 (1873)
I. Allegro molto moderato [5:27]
II. Andantino [3:24] - III. Polonaise [5:20]

Howard Shelley, piano and conducting
Tasmanian Symphony Orchestra

Recorded in Federation Concert Hall, Hobart, Tasmania on 9-12 September 2003
Recording engineer, Andrew Dixon. Recording producer, David Garrett
© 2004 Hyperion Records Ltd. CDA67455

Rescued from oblivion, Henri Herz’s Piano Concertos Nos 1, 7 and 8 (amazingly, Volume 36 in this superb series) are dusted down to emerge into scintillating light. Herz (1803-88) was an unapologetic salon entertainer who, even when lambasted by Schumann (who was high on his list of detested notespinners and philistines) charmed his audiences senseless with his elegant acrobatics and musical know-how. Indeed, it is not difficult to imagine his listeners’ shock and horror when they heard Brahms’s First Piano Concerto in 1859, music the reverse of Herz’s grace and sparkle. Try 3'02" in the First Concerto’s finale for an example of the most fashionable ear-tickling virtuosity, or sample the Rondeau espagnol finale of No 7 with its triangle and foot-tapping attempt at exoticism. True, there is little to inflame the senses or activate the brain but such is Howard Shelley’s expertise that the superficiality becomes engaging. There are few more dextrous or musicianly pianists than Shelley and although I would dearly love to hear him in, say, the Chopin concertos, I am more than grateful for an artist who, like Herz himself, can make you think ‘that a bird had escaped from his fingers and went undulating and singing through the air’ (The New York Times in 1846). To crown it all, Jeremy Nicholas, in his booklet-note, has a field-day with the 19th-century glitz and pell-mell course of Herz’s hyperactive life.
Bryce Morrison, Gramophone.co.uk

Henri Herz was yet another one of those virtuoso composer / performers whose music was very popular in its day, but which has disappeared from sight since. He was a great crowd pleaser and entertainer, and the three concertos here would make excellent "pops" program novelties. All are conservatively tuneful, brilliantly laid out for the soloist, and quite brief (14 – 25 minutes). The Seventh Concerto concludes with a lively Rondeau espagnol that doesn't in fact sound at all Spanish, but that doesn’t matter. Neither does the fact that none of the slow movements is longer than about five minutes: in short, we are not dealing here with a high level of profundity. This is, instead, good fun and just the kind of thing that’s nice to have on recordings. Schumann, who gets a rather spiteful thrashing in the otherwise excellent booklet notes, detested Herz for his lack of seriousness, which is of course his most endearing quality. "Endearing" is also a good way to describe these performances, in which Howard Shelley both plays and conducts an enthusiastic Tasmanian Symphony with panache and class. He tosses off the most finger-twisting licks in the finales with aplomb, and finds something close to poetry in the slow movements, particularly the lovely Romance in the B minor Concerto (No. 7). Excellent balances and warm recorded sound cap yet another success in a series that goes from strength to strength. We can only hope that Hyperion keeps ‘em coming for the next few decades. God knows there’s probably enough music!
David Hurwitz, ClassicsToday.com



Henri Herz - Howard Shelley

... Shelley and the Tasmanians are persuasive advocates for these three piano concertos: this is charming, tuneful music, deftly orchestrated by a man who obviously knew his Chopin, Rossini and, in the nocturne-like slow moverments, John Field. (The Sunday Times) ... If you’ve enjoyed previous volumes in Hyperion’s Romantic Piano Concerto Series, you’ll certainly warm to this delightful release (BBC Music Magazine) ... Shelley makes even the most plainspun of phrases sound like long-lost treasure being discovered anew. First-rate accompaniment and resplendent sonics round out an unexpected delight (Classic FM Magazine) ... Shelley et les Tasmaniens jouent avec une verve, une beautй de sonoritй, un noble abandon qui attisent les bravos (Diapason, France) ... Howard Shelley, who performs the dual role of piano soloist and orchestral director, delights in the charm and the considerable technical challenge of it all, and with his always fluent and controlled fingerwork, he makes it sound easy (International Record Review)

Three languages-, 24 pages-booklet in .pdf format included.
Complete details of the Romantic Piano Concerto project can be found
at the Hyperion Records website (Indexes - Collections)

A big thanks to the original uploader for His kind permission to upload this torrent!!!

Большое спасибо первоначального аплоадера за его любезное разрешение залить этот торент и использовать его материалы!!!

Качать ЗДЕСЬ.

This post has been edited by vpenev on 28-07-2007, 06:02

The Hyperion Romantic Piano Concerto series

Volume 36: Moscheles Piano Concertos no. 4 & 5





Ignaz Moscheles
Prague, May 23, 1794
Leipzig, March 10, 1870

Piano Concerto no. 4 in E major, op. 64 (1823)
I. Allegro maestoso [13:12] - II. Adagio [4:53]
III. Rondeau : Allegretto - Tempo di Marcia [7:56]
Piano Concerto no. 5 in C major, op. 87 (1826-31)
I. Allegro moderato [13:37]
II. Adagio non troppo [7:12] - III. Allegro vivace [9:47]
Recollections of Ireland, fantasia for piano and orchestra op. 69 (1826)
I. Fantasia : Allegro moderato [5:51] - II. The Groves of Blarney [3:44]
III. Garry Owen [2:14] - IV. St Patrick’s Day [3:33]

Howard Shelley, piano and conducting
Tasmanian Symphony Orchestra

Recorded in Federation Concert Hall, Hobart, Tasmania
on 23-25 September 2002 (concertos) and 6 September 2004 (Recollections of Ireland)
Recording engineer, Andrew Dixon. Recording producers, David Garrett & Ben Connellan
© 2005 Hyperion Records Ltd. CDA67430

With these two life-affirming concertos from 1823 and 1826/31 respectively, and Hyperion’s two earlier volumes, we are now able to hear for the first time all Moscheles’ extant works in this form. Mozart, Beethoven, Hummel and prescient Chopin all contribute to the distinctive voice of this once-revered composer. You have to hand it to Howard Shelley: it’s one thing to lead a concerto from the keyboard but to do this when the solo part is so demanding and with such insouciance is quite another thing. The outer movements of the two concertos are relentless – thirds, repeated notes, wide leaps, arpeggios, rapid scales and the like. Shelley executes them with the grace of a gazelle and an invigorating rhythmic precision. If, at times, the writing threatens to descend into a parade of technical exercises, Shelley and his crisp, stylish Tasmanians elevate it into an exhilarating roller-coaster ride of seamless and often unexpected invention. The last movement of the E major Concerto is a brilliant rondo treatment of The British Grenadiers. If it doesn’t leave you wreathed in smiles then, really, there’s no hope for you. In place of Moscheles’ final, Eighth Concerto (no one has been able to track down its orchestral parts) comes the fantasy on Irish airs, a delightfully batty period confection from 1826. The last rose of summer, Garry Owen and St Patrick’s Day all take a turn, the last two treated contrapuntally. Completed by Henry Roche’s trenchant and engaging booklet notes, this is an issue which I cannot praise too highly.
Jeremy Nicholas, Gramophone.co.uk

If you have already collected the first two volumes in this series then you know what to expect: polished performances of charming music, played with commitment and flair by Howard Shelley, and solidly accompanied by the Tasmanian Symphony Orchestra. The Fourth Concerto has an irresistible rondo finale based on the tune The British Grenadiers, while the Fifth (as the booklet notes suggest) features perhaps the most beautiful slow movement in all of these Moscheles concertos. They are attractive, deftly crafted pieces, and it sounds like Shelley is thoroughly enjoying himself exploring their many felicities. Recollection of Ireland’s potpourri of popular melodies ... will be familiar to many listeners. Moscheles certainly knew how to present them effectively, and the work’s brief fifteen minutes fly past effortlessly. What a great "pops" piece this would make! Sonically the two concertos, recorded back in 2002, sound a touch veiled as compared with the 2004 engineering in Recollections of Ireland. Since the parts for the Eighth Concerto seem to have vanished (if they’re in your attic, please contact Hyperion right away!), this disc brings a delightful sub-series in Hyperion’s 36-title (to date) collection of Romantic Piano Concertos to a jolly and most entertaining conclusion.
David Hurwitz, ClassicsToday.com



Ignaz Moscheles Howard Shelley

... Imagine Paganini’s Rossinian verve, Schumann’s poetic sensibility and Mendelssohn’s gentle humanity rolled into one, and you won’t be far from the sound-world of these wonderful concertos (Classic FM Magazine) ... Directing the performances from the keyboard, Shelley takes every prestidigitational hurdle with immaculate precision and aristocratic aplomb. He displays an exemplary range of touch and fluidity, communicates an intense pleasure in the music and indeed seems to revel in its abundant charm. The recording is of the same excellent standard as previous releases in this series. Listeners who have already enjoyed the other Moscheles concertos will not hesitate; if you haven’t, this is a good place to start (International Record Review) ... Pianist-conductor Howard Shelley... delivers very fine and sensitive performances on a Steinway piano. This recorded is a valuable addition for listeners interested in building their collection of nineteenth-century concertos or in tracing the history of the genre (Nineteenth-century Music Review)

Three languages-, 20 pages-booklet in .pdf format included.
Complete details of the Romantic Piano Concerto project can be found
at the Hyperion Records website (Indexes - Collections)

A big thanks to the original uploader for his kind permission to upload this torrent!!!

Большое спасибо первоначального аплоадера за его любезное разрешение залить этот торент и использовать его материалы!!!

Качать ЗДЕСЬ.

This post has been edited by vpenev on 01-08-2007, 09:18

The Hyperion Romantic Piano Concerto series

Volume 37: Napravnik & Blumenfeld Piano Concertos





Eduard Frantsovitch Napravnik
Bэљt near Hradec Krбlovй, Bohemia, August 24, 1839
St. Petersburg, November 23, 1916
Concerto Symphonique in A minor, op. 27 (1877)
I. Allegro energico - attacca: [12:58]
II. Larghetto - attacca: [7:15] - III. Allegro vivace [11:07]
Fantaisie Russe in B minor, op. 39 (1881) [12:19]

Felix Mikhailovich Blumenfeld
Kovalevka near Kherson, southern Ukraine, April 17, 1863
Moscow, January 21, 1931)
Allegro de concert in A major, op. 7 (1889) [14:01]

Evgeny Soifertis, piano
BBC Scottish Symphony Orchestra
Alexander Titov

Recorded in Caird Hall, Dundee on 15, 16 September 2004
Recording engineer, Simon Eadon. Recording producer, Andrew Keener
© 2005 Hyperion Records Ltd. CDA67511

Hyperion’s Romantic Piano Concerto project is, I believe, one of the most significant series of piano recordings ever undertaken. Given the company’s recent defeat in its copyright action case, I would like to be able to give Volume 37 a rave, but sadly it comes as a relative disappointment (despite Hyperion’s usual immaculate standards of production, recording and performance). Eduard Nбpravnнk (1839-1916) wrote his Concerto symphonique in 1877. It begins promisingly with a gesture reminiscent of the ‘Dies irae’ from Verdi’s Requiem. The snaking second subject, too, is arresting but the writing soon descends into a development of note-twirling vacuity. Unlike the artists in some previous less-than-first-rate works in this series, Soifertis and Titov lack the wherewithal to elevate the three movements into the ‘forgotten gem’ class. Similarly, the 1881 Fantaisie russe runs out of inspiration soon after the opening ‘Volga Boatmen’ though is partly redeemed by its spirited third subject and coda. Felix Blumenfeld (1863-1931), remembered as the teacher of Horowitz and for his iconic Etude for the Left Hand, was more of a melodist, as manifested in the succession of sweeping Russian-Romantic themes of his Allegro de concert of 1889. This brief work (13’54"), with its heroic Lisztian figurations and heartfelt lyricism, is reason enough to buy the disc and sample all three of these world premiиre recordings.
Jeremy Nicholas, Gramophone.co.uk



Eduard Nбpravnнk
Felix Blumenfeld
Evgeny Soifertis

The Concerto Symphonique is a perky, extrovert piano concerto, full of nifty passage-work, if light on musical substance, and The Fantaisie Russe, full of Lisztian flourishes and apparently much admired by Tchaikovsky, is based on three Russian folk tunes ... all of it happily negotiated by Evgeny Soifertis, who sounds a very accomplished pianist indeed (The Guardian) ... It’s hard to dismiss music that tries so hard to be likeable. Certainly, if you’ve been collecting the rest of Hyperion’s Romantic Piano Concerto series, you'll enjoy this latest addition as well. There are strong notes and typically fine Hyperion engineering (International Record Review) ... Both composers are fortunate in having as their champion here such a charming and polished virtuoso as Evgeny Soifertis, whose gift for combining an almost childlike simplicity with scintillating bravura is perfectly suited to the music at hand, and who receives splendid support from Titov and the orchestra (Piano) ... Napravnik’s Concerto Symphonique throws just about everything into the melting pot, from Verdi’s Requiem to Tchaikovsky. The The Fantaisie opens arrestingly with a massive rendition of The Volga Boatmen, and if Blumenfeld’s Allegro proves slightly less individual, in performances as fiery and impassioned as these, it makes an indelible impact (Classic FM Magazine) ... None of these pieces was perhaps destined to change the course of Russian music, but they all attest to creative exuberance and skill, slightly anonymous in style maybe, though with a resourcefulness and sparkle to the piano-writing that Evgeny Soifertis communicates with йlan иi](Daily Telegraph)[/i] ... Hyperion’s recorded sound is excellent, soloist Evgeny Soifertis contributes impeccably manicured playing, and the orchestra performs with immaculate accuracy under Russian maestro Alexander Titov. So if you are interested in exploring the Romantic concerto literature at its most obscure, here's your opportunity (Fanfare, USA)

Three languages-, 20 pages-booklet in .pdf format included.
Complete details of the Romantic Piano Concerto project can be found
at the Hyperion Records website (Indexes - Collections)

A big thanks to the original uploader for his kind permission to upload this torrent!!!

Большое спасибо первоначального аплоадера за его любезное разрешение залить этот торент и использовать его материалы!!!

Качать ЗДЕСЬ.

This post has been edited by vpenev on 02-08-2007, 07:28

The Hyperion Romantic Piano Concerto series

Volume 38: Scharwenka & Rubinstein Piano Concertos





Franz Xaver Scharwenka
Samtner near Poznan, Poland, January 6, 1850
Berlin, December 8, 1924
Piano Concerto no. 1 in B flat minor, op. 32 (1870-74)
I. Allegro patetico [10:28] - II. Allegro assai [7:13]
III. Allegro non tanto - Allegro patetico (come prima) [10:34]

Anton Rubinstein
Vikhvatinets, Transnistria, Moldova, November 28, 1829
Peterhof near St. Petersburg, November 20, 1894
Piano Concerto no. 4 in D minor, op. 70 (1877)
I. Moderato assai [11:45] - II. Andante [10:38] - III. Allegro [8:58]

Marc-Andrй Hamelin, piano
BBC Scottish Symphony Orchestra
Michael Stern

Recorded in Caird Hall, Dundee on 18, 19 February 2005
Recording engineer, Simon Eadon. Recording producer, Andrew Keener
© 2005 Hyperion Records Ltd. SACDA67508

Described by one respected critic as the greatest living pianist, Marc-Andrй Hamelin soars to ever new heights of virtuosity. In Volume 38 of Hyperion’s invaluable ‘Romantic Piano Concerto’ series, his phenomenal if nonchalantly deployed dexterity is matched by a cool, lyrical insight, making these performances virtually unsurpassable. Earl Wild’s account of the Scharwenka, aptly described in America as ‘a wing-ding of a romp’, is a hard act to follow but there are few pianists of world class more adept at trumping other people’s aces than Hamelin. His recent recording of Albйniz’s Iberia – territory long occupied exclusively by Alicia de Larrocha – provides a case in point and here it is possible to see his Scharwenka as equally dashing and razor-sharp as Wild’s but with a subtler, more inclusive sense of poetry. There is never a question of virtuosity for its own sake. - Writing of Rubinstein’s Fourth and best Piano Concerto, the august authors of The Record Guide once claimed that if the swelling introduction promises great things, all that emerges is a rather large mouse. But such words were written long before the advent of Hamelin, whose brilliance sets every potentially tired page alive with a truly blazing conviction. His concentrated force in the finale sweeps all before it, and he pulls out all the stops in the gloriously over-the-top conclusion. Hamelin is superbly partnered and recorded, and lovers of lush, romantic melody embellished with hundreds and thousands of winking sequins need look no further.
Bryce Morrison, Gramophone, October 2005



Had Rachmaninov not come along and written his Second and Third Concertos, there’s a good chance that the Scharwenka First and Rubinstein Fourth would have remained in the Romantic concerto showpiece canon. Both have great tunes, varied orchestration, plus, of course, plenty of opportunities for dazzling keyboard display. For speed, accuracy, and sheer poise, Marc-Andrй Hamelin's staggering piano mastery transcends all studio-recorded competition in these works. Granted, Hamelin won’t shock you out of your seat in the Rubinstein with explosive accents and fanciful filigree а la Josef Hofmann’s live 1937 version, nor titillate you with Shura Cherkassky’s liquid inner voices. But if there were ever a pianist who could storm Rubinstein’s difficult cadenzas or toss off Scharwenka’s demanding figurations with that rare combination of power and equanimity, it’s Hamelin. Although these are concertos that you listen to for the piano playing rather than the conducting, Michael Stern must receive credit for providing a bracing, sonorous, and rhythmically alive orchestral framework that supports and prods his soloist at every juncture. This splendidly engineered disc is a crown jewel both in Hyperion's Romantic Piano Concerto series and in Hamelin’s standard-setting discography. Bravo! [12/8/2005]
Jed Distler, Classictoday.com



Xaver Scharwenka
Anton Rubinstein

Marc-Andrй Hamelin gives a dazzling account (BBC Music Magazine) ... Hamelin’s legendary technique thrills at every turn, and in the Rubinstein his scorching virtuosity and emotional intensity mesmerises from beginning to end. Anyone who loves Tchaikovsky or Rachmaninov should investigate this stunning disc without delay! (Classic FM Magazine) ... Rubinstein’s Fourth Concerto can hold its own against Tchaikovsky’s infinitely better known First and, on the strength of this recording, deserves to regain a place in the classical repertoire. There is musical swagger, pathos, poetry and heroism in both of the works couple on this album (Music Week) ... 'Hamelin, who makes out the best possible case for the music, is now the version to have. In any case, his many admirers will flock, and rightly, to acquire this excellently recorded disc of two fairly unfamiliar concertos which, whatever their virtues and failings, provide ideal vehicles for Hamelin’s abundant talents (International Record Review) ... We have been in need of a modern recording by a pianist of the stature of Hamelin who can deliver Rubinstein’s passion, impetuosity, quick changes of mood, and technical demands with ease. He gives a performance of the last movement that is so rousing that it has never sounded so convincing on disc ... an excellent disc that is highly recommended (International Piano) ... Virtuoso repertoire, virtuoso playing – there’s breathtaking snap and clarity to the rhythms, imposing weight to the climaxes ... surely one of the peaks of Hyperion’s ‘Romantic Piano Concerto’ series. All in all, urgently recommended (Fanfare, USA)

Three languages-, 24 pages-booklet in .pdf format included.
Complete details of the Romantic Piano Concerto project can be found
at the Hyperion Records website (Indexes - Collections)

A big thanks to the original uploader for his kind permission to upload this torrent!!!

Большое спасибо первоначального аплоадера за его любезное разрешение залить этот торент и использовать его материалы!!!

Качать ЗДЕСЬ.

This post has been edited by vpenev on 05-08-2007, 10:43