Вах! Тысячи благодарностей за продолжение банкета!
Непонятно вот почему леворукий концерт Кронголда нечасто исполняется - это ж такая халява для пиниста, свободной то рукой можно и почесаться и пивка глотнуть. Загадка.

Да.... Действительно хорошо когда правая рука свободна. (Конечно эсли пианист не левша. ) Все таки очень много вещей можно сделать с ней... Можно также и под юбках обожателниц совать ee пока леваю рука занята завораживанием через высокой романтики. Кстати эта возможность позволяет обьяснит хоть частично почему тот концерт редко исполняется перед широкой публикой. Вероятно он еще изначально был задуман именно для исполнения в интимной бинарной романтической обстановке. Как часть романтической любовной игры так сказать. Думали когда то люди о всех детайлах.

This post has been edited by vpenev on 07-05-2007, 05:17

The Hyperion Romantic Piano Concerto series

Volume 20: Brull Piano Concertos





Ignaz Brull
(Prossnitz, Moravia, November 7, 1846 - Vienna, September 17, 1907)
Piano Concerto no. 1 in F major, op. 10 (1860-61)
I. Allegro moderato - (Cadenza) - Tempo I [13:32]
II. Andante : Molto espressivo [5:21] - III. Finale : Presto [8:11]
Andante and Allegro, op. 88 (1902)
I. Andante moderato, con moto [6:26]
II. Allegro vivace [9:48]
Piano Concerto no. 2 in C major, op. 24 (1868)
I. Allegro moderato [13:44]
II. Andante ma non troppo [8:30] - III. Allegro [7:20]

Martin Roscoe, piano
BBC Scottish Symphony Orchestra
Martyn Brabbins

Recorded in Caird Hall, Dundee on 7, 8 May 1998
Recording engineer, John Timperley. Recording producer, Andrew Keener
© 1999 Hyperion Records Ltd. CDA67069

Ignaz Brьll (1846-1907) is remembered today for two things: first his hugely successful opera Das goldene Kreuz, and secondly, for being a member of Brahms’s circle in Vienna. His association with Brahms has to some extent militated against an independent evaluation of his work, something this recording should go some way towards redressing. As so often with earlier volumes, we are indebted to Hyperion’s Romantic Piano Concerto series for unearthing such a wealth of wonderful music and presenting it so superbly. Brьll was an early developer (the booklet contains a photograph of him aged 24 with a six-inch beard!) and his two piano concertos are youthful works. The first was written when he was just 14, and it shows an incredible fertility of ideas and maturity of formal and orchestral handling. The first movement is bold and passionate, and the finale is witty and brilliant, but it is the powerful central Andante that most impresses. The Second Concerto, written when Brьll was 22, is a more accomplished work, with a stronger melodic vein and more varied and imaginative orchestral writing. After its publication in 1875 it was more widely played than the First Concerto, and unlike the other works on this disc it has been recorded before. The Andante and Allegro, Op. 88 (1902) is a more mature work, the lyrical first section (based on an earlier unpublished song) offset by a sparkling finale.

The performances are exemplary, full of warmth and character from soloist and orchestra. Indeed, this is one of the finest discs I’ve heard from Roscoe, his muscularity and authoritative firmness of style complemented by his delicacy and range of colour. And the BBC Scottish Symphony Orchestra offer tonal refinement and some lovely woodwind playing. All this is helped by the full and clean recorded sound – the clarity, balance and tonal blending really are magnificent – and the lucid and informative booklet-essay further adds to the value of this disc. Another Hyperion triumph.
Tim Parry, Gramophone, April 1999



Ignaz Brьll
Martin Roscoe

... The most enjoyable and successful pair of revivals since Stephen Hough’s award-winning resurrection of Sauer’s No 1 and Scharwenka’s 4th. Life-enhancing minor masterpieces in superb sound and dashing, committed performances. (Classic CD) ... All of the music on this disc is absolutely delightful. (Fanfare) ... This is a welcome discovery or recovery for lovers of Romantic music. (Contemporary 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 07-05-2007, 05:16

прикрепил тему, чтобы было удобнее

yury_usa!!! Спасибо за тему друг!!! Так действительно будет более удобно найти релизы этой длинной серии. То же самое относиться и для тему, в которой собрал линки к полних собрании композиторов. Вообще идея внести известной систематизации очень хороша. Можеть быть в теме для полных собраний стоит включать также линки и на большие колекции исполнителей как The Heifetz Collection. Кстати стоит подумать о подобние темы с линки на полних дискографиях и в других разделов этого подфорума.

This post has been edited by vpenev on 13-05-2007, 01:05

The Hyperion Romantic Piano Concerto series

Volume 21: Kullak & Dreyschock Piano Concertos





Theodor Kullak
(Krotoschin / now Krotoszyn, Poland, September 12, 1818 - Berlin, March 1, 1882)
Piano Concerto in C minor, op. 55 (1850)
I. Allegro [16:24]
II. Adagio [8:22]
III. Allegro moderato ma con fuoco [10:16]

Alexander Dreyschock
(Zбky, Bohemia, October 15, 1818 - Venice, April 1, 1869)
Piano Concerto in D minor, op. 137 (18??)
I. Allegro ma non troppo [10:07]
II. Andante con moto [6:10]
III. Allegro vivace [8:08]

Piers Lane, piano
BBC Scottish Symphony Orchestra
Niklas Willйn

Recorded in City Hall, Glasgow on 3, 4 March 1999
Recording engineer, Tony Faulkner. Recording producer, Amanda Hurton
© 1999 Hyperion Records Ltd. CDA67086

Hyperion’s adventurous exploration of little-known or unknown romantic piano concertos continues with two more first recordings, performed with the kind of zestful spirit and communicative flair that has rightly won this series so many plaudits. There are certainly no laurels being rested upon: indeed, the score and parts of the Dreyschock concerto took some tracking down and were eventually secured from a private collection in Japan. In fact, it is the concerto by Kullak (1818-82) that has the strongest claim on our attention, particularly its arresting first movement. The Beethoven influence is tangible (accentuated by the C minor tonality, with its noble and powerful antecedents), although the solo part is more reminiscent of Hummel and Weber. This is a finely crafted work, with attractive melodic ideas, an intense lyricism and a blend of poignant gravitas and dashing pianistic display. The two remaining movements are not quite on the same level; nevertheless, this performance makes one grateful for the availability of such an appealing work. That by Dreyschock (1818-69) is an altogether more fluffy affair, with plenty of sparkling pianistic charm but without really memorable melodic content. The texture is even more piano-dominated than in the Kullak, with a severely restricted orchestral role, and the level of musical invention and variety is limited. This is, of course, a piece very much of its time and culture, an ephemeral work written for Dreyschock’s own use, and while it has its attractions it demands only an occasional airing. Piers Lane sums it up admirably: ‘Of course it is not particularly profound, but nor is it pretentious. It fizzes with the sort of champagne brilliance Dreyschock’s audiences must have loved.’
This series arouses constant admiration for the way polished interpretations are created from scratch, and this issue is no exception. Piers Lane, equipped with an enviable technical facility that makes light of the considerable demands, is consummately attuned to his task: his tone and phrasing throughout are attractive, his delicacy and colouring hugely persuasive. As ever, the BBC Scottish Symphony Orchestra provides a reliable backdrop to the pianist’s flamboyance, and its tonal warmth and stylish playing unobtrusively adds to the authority of these performances. Piers Lane’s lively accompanying essay is as engaging as his playing, although ideally I would have liked the heavily anecdotal narrative complemented by a little more detail about the music (do we know, for example, when Dreyschock actually composed his concerto?). But he does quote a delightfully wicked and witty contemporary review of Dreyschock’s Etudes Op. 1, and sets these two interesting but peripheral figures in an eloquent historical context. The recorded sound is excellent. Recommended.
Tim Parry, Gramophone, October 1999




Piers Lane

The 19th century had an amazing flowering of composing talent that is being discovered even to this day, as Hyperion’s celebrated Romantic Piano Concerto series certainly proves. With two world premiere recordings in this disc, Hyperion has served up one of the best in its series. Theodor Kullak’s Piano Concerto in C minor has the impulsiveness and dexterity of Beethoven but filtered through a light Mendelssonian sensibility. Kullak was a virtuoso too which accounts for this concerto’s Chopinesque flourishes, played with effortless dexterity by the nimble-fingered Piers Lane. The Piano Concerto in D minor by Alexander Dreyshock also has a fetching lightness and charm. With touches of the dark-hued dynamism and vigor that would later emerge in full force with Schumann and Brahms, this piece is a real firework of a concerto. Are these piano concertos newly discovered masterpieces? Perhaps not. But they are nonetheless delightful and engaging works. Certainly this outstanding recording and performance (Lane has also written a splendid essay to accompany these pieces) gives these neglected works the overdue treatment they deserve.
(Arkivmusic.com)

... These two new works...[are] functional concertos, designed to show off the technical facilities of their composers....Certainly, Piers Lane does everything he can to bring them to life....this is one the piano buffs will have to have... Fanfare, 1-2/00 ... Delightful concertos. Kullak’s in particular strikes me as a gem. Piers Lane plays both with dexterity and wit. A winner. (The Sunday Times) ... 'I can’t stop playing the disc: the anticipation of a number of ear-tickling passages, notably in the Kullak, is too delicious for words. Effervescent, lightweight music transformed into entertaining and compelling minor masterpieces. (Classic CD) ... This is one of the very finest of Hyperion’s 'Romantic Piano Concerto series. (The Penguin Guide to Compact Discs)

Three languages-, 40 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 14-05-2007, 00:51

Так что это последняя золотая раздача из этой серии.

This post has been edited by vpenev on 14-05-2007, 01:00

щас зарядил в торрент все 20 дисков, понемногу идет

Если нужен сийд скажи - вечером когда приду дома могу пустить его снова. Кстати диски уже 21, а не 20. Так что надо добавить последний линк к другие линки в первом топике.

This post has been edited by vpenev on 18-05-2007, 16:52

fixed

The Hyperion Romantic Piano Concerto series

Volume 22: Busoni Piano Concerto





Ferruccio Busoni
(Empoli, Italy, April 1, 1866 - Berlin, July 27, 1924)
Concerto in C major for pianoforte,
orchestra and male chorus, op. 39 (1902-04)
I. Prologo e Introito : Allegro, dolce e solenne [15:36]
II. Pezzo giocoso : Vivacemente, ma senza fretta [9:47]
III. Pezzo serioso : Andante sostenuto, pensoso - Andante, quasi adagio [23:14]
IV. All’Italiana (Tarantella) : Vivace [12:17]
V. Cantico* : Largamente [10:52]

Marc-Andrй Hamelin, piano
The City of Birmingham Symphony Orchestra
* Men's voices of The City of Birmingham Symphony Chorus
Mark Elder

Recorded in Symphony Hall, Birmingham on 20, 21 June 1999
Recording engineer, Tony Faulkner. Recording producer, Andrew Keener
© 1999 Hyperion Records Ltd. CDA67143

GRAMOPHONE EDITOR’S CHOICE
CLASSIC CD 100 GREATEST DISCS OF THE DECADE

Busoni’s Piano Concerto has never become a repertoire piece. It fits awkwardly into a concert programme, due to its length and its choral finale, and the extreme difficulty of its solo writing (discouraging to learn if you’re only going to be asked to play it once in a blue moon) cannot quite disguise the fact that it's really more of a symphony with an elaborate piano part than a real concerto. This new recording might just change all that, for like no other performance that I’ve heard it proves what a richly enjoyable piece it is. Without in the least understating the grandeur of the central movement (or its Faustian pointers to Busoni’s later style), it finds humour not only of the gallows kind in the first Scherzo (even a touch of irony to its nostalgic centre), while the brilliant tarantella second Scherzo is often very funny indeed: Busoni celebrates his Italian ancestry, but at times bursts into helpless laughter at it as well. Hamelin obviously loves the work’s opportunities for grand romantic pianism and barnstorming, and he has a fine ear for its stark boldness. But it’s a piece that also needs absolute conviction from the conductor, and Elder is splendidly eloquent, from the nobly Brahmsian introduction to the full-throatedly sung (but properly distanced: Busoni wanted the chorus to be invisible) finale. Both are at their best in the central Pezzo Serioso, which is grand and grave, but alert to the presence of Chopin as well as Liszt. The recording is warm and spacious, the piano at times just a touch (but forgivably) close. Hyperion reprints Ronald Stevenson’s flamboyant programme-notes to one of John Ogdon’s pioneering performances of this concerto 40 years ago. "Effusion is germane to both the music and my writing on it", he says in a semi-apologetic postscript, but his mots are very often justes: "a sad defeated fanfare on a ruined glory of D major, and a string chord hangs like a breath on the air" is exactly how the end of the first Scherzo sounds in this remarkable performance.
Michael Oliver, Gramophone, December 1999

In his time, Ferruccio Busoni was known better as a pianist than as a composer: indeed, he was thought to be among the greatest to ever play the instrument. However, it is as a composer that Busoni defined himself, and since his passing, his music has become a monument to his dreams. His lavishly orchestrated Piano Concerto in C Major is a magnificently unique piece, so unusual that it is rarely performed in concert. Certainly a concerto of this length (over 70 minutes) is a rarity, but it is Busoni’s distinctive musical vision that truly sets the piece apart. Sweeping the audience away as if on an ocean, Busoni’s melodies pass through the majestic piece in waves. Lyrical, yet too subtle for a dance, the concerto is an immersion in Busoni’s sensual world.
Mark Elder and the City of Birmingham Symphony Orchestra capture the tactile nature of the music beautifully, and pianist Marc-Andrй Hamelin has the deft touch required for Busoni’s highly technical work.
Archivmusik.com



"It is the idea of my piano concerto in one picture and it is represented by architecture, landscape and symbolism. The three buildings are the first, third and fifth movements. In between come the two ‘living’ ones; Scherzo and Tarantelle; the first, a nature-play, represented by a miraculous flower and bird; the second by Vesuvius and cypress trees. The sun rises over the entrance; a seal is fastened to the door of the end building. The winged being quite at the end is taken from Oehlenschlager’s chorus and represents mysticism in nature."(Busoni in a letter to his wife, July 1902)

Sensational ... Anyone who has the slightest doubts about Busoni’s stature as a composer will surely be won over by this magisterial recording. (Piano International) ... Dark, turbulent, horribly difficult to play, very long – and probably my disc of the year ... This fine new recording does full justice to every aspect of the work. It will surely help to establish Busoni as an unarguably major composer. (Classic CD) ... Busoni makes ridiculous demands on pianists, but in Marc-Andrй Hamelin’s hands, it all sounds perfectly reasonable. It isn’t: it’s noble, hilarious, impressive and gloriously over the top. (BBC Music Magazine) ... The biggest blockbuster of them all. Mark Elder and the CBSO support Hamelin to the hilt and the result does full justice to one of the mightiest epics of the piano repertoire. (The Times) ... Hamelin’s account is quite extraordinary, especially in the cadenza, in which the virtuosity he unleashes reaches barely credible heights ... one of his finest achievements to date. (International Piano Quarterly) ... A dazzling disc. If any pianist can clarify and define this bewildering work it is Hamelin, with his razor-sharp reflexes, a technique that knows no difficulties and, even more important, a ready sympathy for Busoni’s abrupt changes of ace and direction ... a spine-tingling experience. Another awe-inspiring feat from this prodigiously virtuosic Canadian (Gramophone)



Marc-Andrй Hamelin
Ferruccio Busoni
Mark Elder

Three languages-, 32 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 25-05-2007, 20:38

The Hyperion Romantic Piano Concerto series

Volume 23: Holbrooke & Wood Piano Concertos





Joseph Holbrooke
(Croydon, England, July 5, 1878 - London, August 5, 1958)
Piano Concerto no. 1, op. 52
"The Song of Gwyn ap Nudd" (1906-08)
I. Maestoso - Allegro - Animato - a tempo - Tempo I - Piщ mosso al fine [12:43]
II. Poco adagio con sentimento - Tempo poco Allegretto [9:29]
III. Allegro moderato ma con fuoco [14:03]

Haydn Wood
(Slaithwaite, Yorkshire, March 25, 1882 - London, March 11, 1959)
Piano Concerto in D minor (190?-09)
I. Maestoso e moderato - Tranquillo - Cadenza - Allegro [15:00]
II. Andante [5:51] - III. Finale : Vivace [12:18]

Hamish Milne, piano
BBC Scottish Symphony Orchestra
Martyn Brabbins

Recorded in Caird Hall, Dundee on 4, 5 June 1999
Recording engineer, Tony Faulkner. Recording producer, Andrew Keener
© 2000 Hyperion Records Ltd. CDA67127

Gwyn ap Nudd, the King of Faerie, is the lover of Cordelia, daughter of Ludd or Lear, familiar from Shakespeare’s play. He fights for her with Gwythyr ap (i.e. the son of) Greidawl on the first of May each year ‘until the day of doom’. Much of Halbrooke’s music evokes atmosphere or characters rather than underlining action. However, Celtophobes should not turn away, for the music can be enjoyed as a straightforward Romantic piano concerto; for those who wish to follow the story, the full poem as printed in the score appears [in the booklet, with German and French versions] with the CD entry points before each appearance of a quotation in the full score.
(from the booklet notes)

CLASSIC CD DISC OF THE MONTH

I confess to having been frustratingly underwhelmed, in the past, by what little I have heard of the Croydon-born composer and pianist Joseph Holbrooke (1878-1958). But the present ambitious First Piano Concerto (first performed by Harold Bauer under the composer’s baton in November 1910) is by some margin the most impressive orchestral piece of his I’ve yet encountered. Dubbed a symphonic poem by its creator, it follows the narrative of a poem based on a Welsh legend by his patron Lord Howard de Walden (writing under the pseudonym of T. E. Ellis) entitled The Song of Gwyn ap Nudd (the full text of which is printed in the admirable booklet), yet, as annotator Lewis Foreman correctly observes, the work can also be appreciated perfectly well as a red-blooded romantic concerto, very much in the grand tradition. On first acquaintance, I wondered whether Holbrooke’s music had a strong enough thematic profile, but a second hearing soon uncovered plenty of ideas securely lodged in the memory bank (you somehow just know that the first movement’s gorgeous second subject is destined to reappear in all its grandiloquent glory before the end). And there’s no denying the deft resourcefulness and vaulting sweep with which Holbrooke handles proceedings. What’s more, it receives an outstandingly eloquent, tirelessly committed treatment here – clearly the product of many hours of painstaking preparation.

Before he made his name in the field of light music, Haydn Wood (1882-1959) was a gifted violinist and composition pupil of Stanford at the Royal College of Music. Indeed, it was Stanford who conducted the Queen’s Hall premiere of Wood’s big-boned D minor Concerto in July 1909. It’s an altogether more straightforward, less individual confection than its partner. Greig’s Concerto is the obvious template, and there are plentiful stylistic echoes throughout ot Tchaikovskys, Rachmaninov and MacDowell. The opening movement is full of effective display and boasts a ravishing secondary idea. Tuttis incline to overthickness (a recurring problem in both outer movements), yet there’s some delightfully transparent scoring elsewhere (try from the start of the first-movement development section at 6’56"). The finale starts promisingly (the unison horns at the outset imediately call to mind the start of Tchaikovsky’s First Concerto), but tends to lose its way. By far the best music comes in the central Andante – a genuinely haunting, deeply felt essay, boasting some wistfully fragrant orchestral sonorities. Not a great work, by any means, but incurable romantics will devour it. Again, the performance is securely in the luxury class, as are the Keener / Faulkner production-values. An altogether exemplary release, then.
Andrew Achenbach, Gramophone, April 2000



Joseph Holbrooke
Haydn Wood

... (The Holbrooke concerto) is extremely well played by Milne and the excellent BBC Scottish SO....The Haydn Wood D minor Concerto (...) is the better work, more clearly defined, somewhat better orchestrated and more certain as to where it is going (...) If you are attracted by the repertoire, give it a try: you will not be disappointed.(International Record Review) ... The playing is first class and the recording is super. (American Record Guide) ... Marvellous performances and recording. (Hi-Fi News & Record Review) ... Hamish Milne plays "to the manner born" in his elegant and mesmerizing realization of both scores. A must for the ‘Romantic’ collector. (Fanfare, USA) ... One for the end of year awards. An outstanding issue in every way (Classic CD)

Three languages-, 44 pages-booklet in .pdf format included.[/i]
Complete details of the Romantic Piano Concerto project can be found
at the Hyperion Records website (Indexes - Collections)[/size][/font]

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 04-06-2007, 00:41

The Hyperion Romantic Piano Concerto series

Volume 24: Vianna da Motta Piano Concertos



Jose Vianna da Motta
(Sao Tome, April 22, 1868 - Lisbon, June 1, 1948)
Piano Concerto in A major (1887)
I. Moderato [9:41] - II. Largo - Variations - Coda (Molto vivace) [16:28]
Ballada for solo piano, op. 16 (1905) [9:17]
Fantasia Dramбtica for piano and orchestra (1893)
I. Allegro moderato [10:54]
II. Andante [7:45] - III. Animato - Maestoso [10:14]

Artur Pizarro, piano
Orquestra Gulbenkian
Martyn Brabbins

Recorded in the Grande Auditуrio, Museu Calouste Gulbenkian, Lisbon on 12, 13 July 1999
Recording engineer, Tony Faulkner. Recording producer, Andrew Keener
© 2000 Hyperion Records Ltd. CDA67163

Hitherto, Jose Vianna da Motta (1868-1948) was quite unknown to me. Artur Pizarro’s informative note fills the main gaps: born in Africa, he was a pupil of Schaffer, Liszt and von Bьlow, later becoming a leading interpreter of Beethoven and Liszt. He played with Casals, Sarasate and Ysaяe and was a friend of Busoni, with whom he edited a complete Liszt edition. Vianna da Motta’s main importance to posterity was his cultivation of non-operatic music in Portugal, his own compositions leading the way. Ironically, the larger works here scarcely contributed, the Concerto (1886-87) being premiиred the day before this recording, the Fantasia dramatica (1893) played just once before. Both are early works, full of youthful exuberance. The Concerto betrays many influences, Wagner not least, but is largely Schumannesque in structure. Its unconventionality reminded me of Busoni’s early concerto (though less massive), consisting of just two movements, the variation-form second functioning as slow movement and scherzo-finale. The concerto-sized Fantasia dramatica (the largest item here) is more assured technically, switching Liszt for Schumann as model. Vianna da Motta’s Ballada for solo piano is later still (1905), a fully mature creation in expressive design and the skill of its keyboard writing. Based on two popular songs from Portugal, it does lack the sheer vitality and fun of the works with orchestra, though its being placed between them sets it in the best possible light. The performances – firmly directed by Brabbins – are very strong (Pizarro doesn’t put a foot wrong). The superlative recording is a further plus, letting one hear even the rasp of the bassoons beneath the Fantasia’s final climax. A joy to listen to.
Guy Rickards, Gramophone.co.uk

The Piano Concerto is clearly out of the Schumann school: fantasy and a rattlingly romantic approach are the order of the day. There is a dash of turbulent spirit from the Brahms First Piano Concerto: the very Germanic brass motto at the start of the largo affirms the tremendously Brahmsian sense of conflict. Amid the storm there is a Waldszenen faerie delicacy. The recording does the music wondrous justice although it does show up the less than smooth string contribution. Even so, in no sense, is the orchestra ‘rough’ just missing the quality of refinement: they premiиred the concerto in concert the day before the recording was made. The gale-tossed unrest of the Ballada heaves with Lisztian Richter-scale bravura but is also not short on marmoreal reflection akin to Chopin’s Nocturnes. This is a work of recursive depth of feeling. Certainly worth a return trip! The three-movement Fantasia is effectively a second piano concerto in a single movement (in three sections) as against the first concerto’s two. There is not a trace of barn-storming in most of the first section Allegro. All is undulating, rippling, charming, mellifluous, emollient as is the pivotal Andante (surely reflecting affectionate knowledge of the central episodes in Beethoven’s Fourth and Fifth piano concertos). The Animato is Tchaikovskian shaken with dark brass figures and rumbling with restless romantic invention. In this work da Motta is grasped by a strong individuality (not to mention exoticism - note the gong stroke at 2.30 in track 11) not always evident in the other works on this disc. Pizarro is beyond criticism and a sure friend to the composer: he also contributes the complementary notes.
Rob Barnett, Musicweb.international.com



Jose Vianna da Motta & Artur Pizarro

Pizarro performs prodigies in getting around these unfamiliar scores with hair-raising aplomb and the utmost conviction (Piano International) ... Goza, ademбs, de una toma sonora esplйndida (Scherzo, Spain) ... Pizarro gives the music exactly the full-bodied treatment [the piece] requires. A fine, satisfying disc, well worth exploring. (Fanfare, USA) ... To hear Pizarro is always a pleasure ... lyrical phrasing wrapped in one of the most entrancing and expressive pianissimos of any pianist. (International Record 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 11-06-2007, 13:46

The Hyperion Romantic Piano Concerto series

Volume 25: MacDowell Piano Concertos



Edward MacDowell
(New York City, December 18, 1860 - Ivi, January 23, 1908)
Piano Concerto no. 1 in A minor, op. 15 (1882)
I. Maestoso - Allegro con fuoco [10:50]
II. Andante tranquillo [8:00] - III. Presto [8:28]
Second Modern Suite for solo piano, op. 14 (1881) [23:12]
Piano Concerto no. 2 in D minor, op. 23 (1885)
I. Larghetto calmato - Poco passione [12:30]
II. Presto giocoso [5:10] - III. Largo - Molto allegro [9:02]

Seta Tanyel, piano
BBC Scottish Symphony Orchestra
Martyn Brabbins

Recorded in Caird Hall, Dundee on 14, 15 September 2000 [Opp. 15, 23]
and in Henry Wood Hall, London on 17 December 2000 [Op. 14]
Recording engineer, Tony Faulkner. Recording producers, Andrew Keener and John West
© 2001 Hyperion Records Ltd. CDA67165

To many Edward MacDowell (1860-1908), an exact contemporary of Gustav Mahler, is remembered for his To a Wild Rose (from the Woodland Sketches) and little else. Yet he composed a few orchestral suites, symphonic poems, as well as numerous piano pieces and songs. He was widely considered the most important American composer of his day, but Gottschalk (1829-1869) has a far stronger claim to that title. He was among the earliest to use America’s indigenous rhythms and melodies his music, offering a direction which others ignored for nearly half a century. MacDowell was in essence a European composer and in his music it is rare to find any significant use made of American themes or rhythms. His miniatures, composed after 1895, certainly take their inspiration from the very fields, lakes and forests of the America that MacDowell deeply loved. These are richly melodic compositions produced by a gifted ‘German’. MacDowell has a rightful claim to being ‘the first American-born composer to have his works favourably compared with those of his European-born peers’.

The Piano Concerto No 1 in A minor is dedicated to Franz Liszt. The concerto, so the story goes, was composed in just two weeks. It was Joachim Raff who spurred MacDowell into writing it. Calling on his American pupil one day, he asked MacDowell what work he had in hand. Standing rather in awe of Raff at that time, MacDowell without thinking blurted out that he was working on a concerto (in fact, he had no thought of doing so). Raff asked him to bring the work to him the following Sunday by which time MacDowell had just managed to write the first movement. Evading Raff until the following Sunday - still not finished - he put him off again until the Tuesday by which time he had completed the concerto. Raff was so delighted with the results that he advised his pupil to travel to Weimar and show the work to Liszt. This MacDowell did, playing the work to the great man with Eugen d’Albert, no less, playing the orchestral part at the second piano. Despite this impressive background, one could hardly regard this first Piano Concerto as a high ranking work, especially when set beside MacDowell’s later pieces. Somewhat immature, I find the development is predictable and certain bar groups tend to become repetitious. I agree with the notes that the work is of academic interest but doubt that ‘one can sense the white-hot inspiration in which it was written’.
After the opening maestoso chords (enhanced in a second edition, published in 1910 apparently), the soloist leads off into the fiery Allegro con fuoco. A gentle, lightly scored Andante tranquillo (second movement) suggests those ideas of simple lyricism that were later to become trademarks of the MacDowell's miniatures and this contrasts considerably with the crude opening movement. The Presto has a strong opening before launching into its virtuoso theme, deftly handled by Seta Tanyel. Changing chromatic moods are found to be punctuated by Dvořákian New World horn chords that lead to a rousing finale. [Interestingly, this Concerto was written 8 years before the more famous New World symphony was performed (1893) so did Dvořák borrow from MacDowell when in America forming his friendship with Herbert? No mention is made of any of this in the notes yet the concertgoers at the time must surely have recognised the similarity.]

The Second Modern Suite, dedicated to Mrs Joachim Raff, follows Liszt’s suggestion to write a series of pieces for solo piano. Many of the six pieces in this second suite were written apparently when commuting between Frankfurt and Darmstadt in order to give lessons. The themes are engaging and convey a number of moods. The Fugue unmistakably echoes Bach (and Raff) whilst the Rhapsodie hints of Brahms and the Scherzo of Schumann. The Piano Concerto No 2 in D minor opens with the orchestra setting a dreamily tranquil scene before the piano interrupts with a short passage recognisable as similar to the ‘Warsaw concerto’. An enjoyable love theme later runs through the first movement. The work wakes up with true inspiration in the second movement with catchy thematic and rhythmic content, and clever orchestration. It provides an opportunity for good virtuosity and Tanyel rises to the occasion. It is understandable that this movement is sometimes played as a separate piece. The third movement moves to a sombre mood and back to the opening ‘Warsaw’ theme. Eventually it gathers strength to bring the piece to a rousing crescendo before relaxing into a dreamy passage. Energy gathers again for a spectacular finale.

The recording is first class with an exciting resonant bass lift to the piano’s lower octave, providing additional depth to the instrument. The piano is not placed too forward to drown orchestral detail and their excellent playing. Brabbins handles the orchestra sensitively and provides a good degree of colour. Interesting and lengthy notes are given on the composer, but little is mentioned about MacDowell’s ideas in planning the pieces, which would have been useful to know about.
Raymond J. Walker, Musicweb.international.com



Seta Tanyel

... Vol. 25 in this Hyperion series deserves to become a best-seller (Hi-Fi News) ... The piano writing exudes scintillation and brilliance and seems custom-made for Seta Tanyel’s lush, colourful sonority and effortless leggiero fingerwork (International Record Review) ... Tanyel can totally identify with this kind of post-Lisztian lyric bravura style (BBC Music Magazine) ... The Piano Concerto No 2 is a barnstorming, big-hearted, tune-filled warhorse of a piece that audiences would love if they heard it (Punch) ... Seta Tanyel’s thoughtful and richly coloured new performances make a distinguished addition to the catalog ... a winner. Strongly recommended (Fanfare, USA)

Three languages-, 32 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 25-06-2007, 18:15

The Hyperion Romantic Piano Concerto series

Volume 26: Litolff Piano Concertos no. 3 & 5



Henry Charles Litolff
(London, February 6, 1818 - Bois-Colombes near Paris, August 5, 1891)
Concerto Symphonique no. 3 in E flat major, op. 45 "National Hollandais" (1846)
I. Maestoso [11:03] - Presto [5:35]
III. Andante [6:33] - IV. Allegro vivace [7:36]
Concerto Symphonique no. 5 in C minor , op. 123 (1867)
I. Allegro maestoso [14:43] - II. Largo [6:27]
III. Intermиde (Scherzo) : Vivace [4:46] - IV. Allegro [9:12]

Peter Donohoe, piano
BBC Scottish Symphony Orchestra
Andrew Litton

Recorded in Caird Hall, Dundee on 27, 28 October 2000.
Recording engineer, Tony Faulkner. Recording producer, Andrew Keener
© 2001 Hyperion Records Ltd. CDA67210

This recording is the companion to Donohoe and Litton’s earlier recording of Litolff’s Concertos no. 2 & 4 and completes Hyperion’s survey of the composer's works for piano and orchestra (Litolff’s First concerto was never published and is lost). Both works owe the ‘Symphonique’ title to their four-movement structure (all Litolff’s concertos contain a Scherzo in addition to the three conventional movements), and the importance of the orchestra in their thematic development. The Third Concerto was (along with the Fourth) the most popular in Litolff’s lifetime and was written for performance in the Netherlands: it uses two popular Dutch melodies which no doubt explains it early success. The Fifth Concerto is the most obscure of the four extant works yet it is the most ambitious in scale with a particularly imposing orchestral exposition. Unfortunately by the time the work was composed, Litolff had faded from the public eye and the work received few, if any, performances. Its Scherzo, obviously modelled on the equivalent ‘hit’ piece from the Fourth Concerto, has the potential to be almost as popular, though its virtuosic leaping octave passages are likely to deter all but the most muscular of pianists. (Hyperion.co.uk)

Volume 26 in Hyperion’s engrossing ‘Romantic Piano Concerto’ series completes Peter Donohoe’s magisterial survey of Litolff’s five piano concertos (sadly‚ the First is lost). Litolff’s dauntingly capacious and ambitious structures accommodate every possible style‚ looking forwards and backwards Janusstyle‚ yet reaching out in the strange almost Alkanesque oddity of the Fifth Concerto’s last two movements towards a more personal and distinctive style. Admired by Tchaikovsky‚ Liszt and Berlioz (though with some telling reservations)‚ Litolff enjoyed a hectic career (part idyll‚ part drama and novelistic intrigue according to the pianist Marmontel) which is mirrored in writing of a formidable intricacy. So even if claims that he was ‘the English Liszt’ and that his development sections are similar to late Beethoven seem farfetched‚ the sheer energy and resource of Litolff’s writing are absorbing. Few pianists of any nationality could approach‚ let alone top‚ Peter Donohoe’s blistering virtuosity in these works. His performances throughout are as rocksteady as they are dazzling‚ sweeping aside torrents of notes with both affection and an imperious authority. Hear him in the fugal cadenza of the Fifth Concerto’s finale‚ in the exultant whirl which opens the Third Concerto’s finale‚ or (to recall for a moment Litolff’s most popular work) in his ferocious clip through the Scherzo of the Fourth Concerto‚ and you can only marvel at such unfaltering command‚ ideally complemented by Andrew Litton and the BBC Scottish Symphony Orchestra. The recordings are even more successful in terms of sound and balance than on Volume 14, and Jeremy Dibble’s superb notes are a major asset. The Fifth Concerto receives its first recording‚ and this is an invaluable issue for lovers of intriguing repertoire and pianoplaying of pulverising mastery.
Gramophone.co.uk, July 2001



Henry C. Litolff
Peter Donohoe

Henry Litolff's delightful works for piano and orchestra published under the label "Concerto Symphonique" have not deserved their current neglect, and Hyperion’s advocacy on their behalf represents one of many high points in its estimable Romantic Piano Concerto series. A dedicated anti-monarchist, Litolff composed his Third Concerto order to express his gratitude to the people of the Netherlands for providing a refuge after his escape from an English jail. The work incorporates several Dutch tunes, and places the scherzo second. Peter Donohoe and Andrew Litton have a field day with this charming piece. Here, as in the rather weightier opening movement of Concerto Symphonique No. 5, their light touch and buoyant rhythmic foundation prevent this sometimes foursquare music from bogging down. They imbue both slow movements with an appealingly operatic lyricism and project the music of the scherzos with a real sense of fun. Donohoe offers an especially well-paced finale to No. 5, an ambitious work that can all-too-easily succumb to excessive grandiosity, but which here remains freshly imagined from first note to last. Excellent sound completes a mightily attractive picture.
David Hurwitz, ClassicsToday.com

... I found the first Litolff disc delightful, and this new release is just as captivating. Very warmly recommended. (Fanfare, USA) ... Peter Donohoe ... is the ideal man for such music, while the BBC Scottish SO under Andrew Litton offers razor-sharp support. A wonderfully clear recording (BBC Music Magazine) ... Donohoe’s pianism is ideally suited to this music, calling as it does for a brilliant, incisive tone, a dazzling leggiero touch and rhythmic punch ... dash out and buy the disc forthwith’ (International Record Review)

Three languages-, 32 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. Раздача начнет около 00:00 МСК.

This post has been edited by vpenev on 25-06-2007, 18:38