The Hyperion Romantic Piano Concerto series

Volume 27: Saint-Saens complete works for Piano and Orchestra





Charles Camille Saint-Saens
Paris, October 3, 1835
Algiers, Algeria / colonial France then, December 16, 1921

Disc 1
Piano Concerto no. 1 in D major, op. 17 (1858)
I. Andante - Allegro assai [11:37]
II. Andante sostenuto, quasi adagio [8:35] - III. Allegro con fuoco [6:25]
Piano Concerto no. 2 in G minor , op. 22 (1868)
I. Andante sostenuto [10:08]
II. Allegro scherzando [5:23] - III. Presto [6:09]
Piano Concerto no. 3 in G minor , op. 22 (1869)
I. Moderato assai - Piщ mosso (Allegro maestoso) [12:26]
II. Andante [6:16] - III. Allegro non troppo [7:06]
Wedding Cake, op. 76 (1886)
Valse-Caprice for piano and strings [5:58]

Disc 2
Piano Concerto no. 4 in C minor, op. 44 (1875)
I. Allegro moderato [11:18] - II. Allegro vivace [13:24]
Piano Concerto no. 5 in F major, op. 103 (1896)
I. Allegro animato [10:11]
II. Andante - Allegretto tranquillo [11:07] - III. Molto allegro [5:49]
Rapsodie d’Auvergne, for piano and orchestra op. 73 (1884) [9:02]
Allegro Appassionato, for piano and orchestra op. 70 (1884) [5:11]
Africa, Fantasie for piano and orchestra op. 89 (1889-91) [9:47]

Stephen Hough, piano
City of Birmingham Symphony Orchestra
Sakari Oramo

Recorded in Symphony Hall, Birmingham on 22-24 January and 6-8 September 2000;
And in Warwick, Arts Centre on 3 July 2001 (Concerto No. 3)
Recording engineers, Tony Faulkner and Mike Clements. Recording producer, Andrew Keener
© 2001 Hyperion Records Ltd. CDA67331/2


Cast your eye over the listings of these concertos in the classical catalogue and you’ll find half a column of versions of No. 2, including three by Rubinstein and a celebrated live recording by Gilels – while representation of the other four is so sparse as to suggest their days are over. No. 4, once the rival to No. 2 in popularity, does have Cortot’s glorious recording of 1935 to speak for it, but when do you ever hear it in concerts now? Richter’s name pops up in No. 5, in a 1952 account with Kondrashin and a Moscow youth orchestra. As to No. 1 and No. 3, they have faded almost to vanishing point. (...) Enough background: forward Stephen Hough, whose arrival is timely. His set is well recorded and presented, and conductor and orchestra are with him in a proper collaboration. It includes moreover the four shorter solo pieces with orchestra, which are characteristically pleasing compositions in a genre the composer liked to cultivate and of which Africa and the Rhapsodie d’Auvergne are especially worth having. If Saint-Saлns’s idiom once answered (and maybe still does) to qualities fundamental to the French musical character, it must straight away be said that Hough sounds the complete insider. My first impression of coolness and a slight reserve was soon banished by a recognition that his voice is ideally pitched. He commands the range of the big statements, whatever their character, as well as sparkle and panache, a sense of drama and seemingly inexhaustible stamina; and he can charm. Yet perhaps most delightful is the lightness and clarity of his decorative playing: even when subservient to the orchestra, one notices that every note of his roulades and filigree comes up glistening. And it is a bonus not to have the virtuoso passages sounding hectic or overblown – for Saint-Saлns, virtuosity always had an expressive potential. There is an air of manufcature about the writing sometimes, certainly, but as Hough knows, there must be nothing mechanical in the delivery of it. All of it tells. Sweeping across the keyboard, dipping and soaring through the teaming notes, he flies like a bird.



Camille Saint-Saens
Stephen Hough

Trying to single out a quality which makes him particularly admirable, I think it should be his acuteness of ear in all matters relating to sonority and balance. He conveys what makes these pieces tick: fine workmanship, fantasy, colour, and the various ways Saint-Saлns was so good at combining piano and orchestra. Gounod remarked that his younger colleague ‘played with and made light of the orchestra as of the pianoforte’, and these scores are textbooks of lean but firm orchestration from which at least one major French composer learned: Ravel, another eclectic, who must have seen the ‘old bear’ as a kindred spirit and whose G major Piano Concerto might surely not have been written the way it is without the example of Saint-Saлns’s achievements. The days are past when the CBSO under Louis Frйmaux was considered Britain’s ‘French’ orchestra, but with Sakari Oramo it does splendidly here, playing alertly with its inspiring soloist. It is a partnership which often goes beyond the punctual and the musicianly, and in the picture-postcard orientalism of the ‘Egyptian’ Fifth Concerto achieves a level of exceptional vivacity and definition. The recording balances are fine, with lovely piano sound and plenty of orchestral detail in natural-sounding perspectives. There is more personal music in these concertos and the four smaller pieces than I had remembered and these performances have brought it up as fresh as paint. Irreproachably elegant on the surface, the music is all the better for sometimes disclosing a basic vulgarity, as if a streak of plebeian blood were there to act as a safeguard against the nervous instability inherent in good breeding. It is shot through not only with good tunes but with touches of the vernacular and the theatrical. It is never insipid and rarely banal. This seems to me a spiffing set and pleasurable discoveries and rediscoveries await.
Stephen Plainstow, Gramophone, November 2001



Algiers in 1921, at the time of Saint-Saens passing

... Superlative (The Independent) ... Superb... Hough’s new set in Hyperion’s outstanding Romantic Piano Concerto series sweeps the board (The Guardian) ... A delightful set that does this underrated composer full credit (Classic FM Magazine) ... 'It is unalloyed pleasure to sit through all five at a sitting ... the quite outstanding pianism of Stephen Hough makes this an unmissable addition to anyone remotely interested in the barnstorming, physically exhilarating concertos of the late nineteenth century (International Record Review) ... Marvellous performances, full of joy, vigour and sparkle. The recording is in the demonstration bracket and this Hyperion set includes no fewer than four encores. An easy first choice (The Penguin Guide to Compact Discs)

Three languages-, 28 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!!!

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This post has been edited by vpenev on 05-07-2007, 04:43

The Hyperion Romantic Piano Concerto series

Volume 28: Stojowski Piano Concertos





Zygmunt Stojowski
Strzelce near Kielce, Poland, May 4, 1870
New York City, November 5, 1946

Piano Concerto no. 1 in F sharp minor, op. 3 (1890)
I. Andante poco mosso - Allegro un poco maestoso - Lento, poco a poco animato [14:57]
II. Andante sostenuto e molto cantabile [9:40] - III. Allegro con fuoco - Presto [10:32]
Piano Concerto no. 2 in A flat major, op. 32 (1909-10)
I. Prologue: Andante con moto [7:36]
II. Scherzo: Presto [5:02]
III. Variations: Tema and Variations I-X [20:22]

Jonathan Plowright, piano
BBC Scottish Symphony Orchestra
Martyn Brabbins

Recorded in Caird Hall, Dundee on 6, 7 June 2001
Recording engineer, Mike Clements. Recording producer, Andrew Keener
© 2002 Hyperion Records Ltd. CDA67314

Volume 28 in Hyperion’s absorbing series‚ The Romantic Piano Concerto‚ unearths two gloriously worthwhile rarities in superb performances. To briefly paraphrase Joseph Herter’s informative liner notes‚ Zygmunt Stojowski (18701946) - born in the Russian partition of Poland and later a favourite pupil of Delibes in Paris - was a diehard Romantic who‚ after a dazzling start‚ fell victim to changing taste and fashion. Yet in both his piano concertos‚ where yearning melody and outsize heroics are expressed in writing of the most exalted virtuosity‚ his energy and ardour are a glowing reminder of another age. As a review in 1897 had it‚ such music only stands a chance in the hands of a great pianist. The challenge is immense both in terms of technique and‚ more elusively‚ style‚ and it is met by Jonathan Plowright with imperturbable authority. His musicianship is unfailing‚ his virtuoso command of the sort that clears every hurdle with yards to spare. Hear the visceral impact of his chording at 3'19" in the First Concerto‚ or the delicacy and precision of his playing of the decorative detail which immediately follows‚ and you are clearly in the presence of a master pianist. Even more remarkable is his unaffected warmth at 12'03"‚ and in the second movement Andante sostenuto the way he allows a melody lost in starry reflection at 1'17" to blossom and unfold. In the Second and more enterprising concerto‚ in which Stojowski uses the variation form to exploit every form of pianistic ingenuity (thirds‚ octaves‚ flying semiquaver figuration‚ etc)‚ Plowright is a no less trenchant and ardent advocate‚ relishing the Romantic fullness of Variation 9‚ tossing aside the second movement Scherzo with a scintillating disregard for difficulty and catching his listeners in a final whirl of events which leads up to a surprisingly restrained and poetic coda. Even when compared to the most outstanding performances in this series (chiefly by Stephen Hough and Marc-Andrй Hamelin), Jonathan Plowright’s performances are a rare example of technical and musical integrity. He is backed to the hilt by Martyn Brabbins and the BBC Scottish Symphony Orchestra‚ and both sound and balance are natural and exemplary.
Bryce Morrison, Gramophone, June 2002

... Pianist Jonathan Plowright proves a remarkably adept and confident exponent of these two obscure piano concertos. Stojowski writes music in the ripe, late-Romantic tradition of Paderewski, and both works feature brilliant writing for soloist and orchestra as well as some really good tunes. Piano Concerto No. 1 has the traditional three movements and employs a touch of cyclical form, in that tunes from the preceding movements return at the end of the finale. Plowright plays the outer movements with the necessary bravura and turns in a poetic account of the lovely central Andante sostenuto. The Second Piano Concerto commits a cardinal sin that has understandably doomed it to obscurity: it ends quietly. Composed in a single continuous arch of music consisting of a Prologue, Scherzo, and Variations (10 of them), it’s both more brilliant and more subtle than the First Concerto, and quite a discovery. The long final variation set also benefits from being based on a really memorable theme, and Jonathan Plowright again does an impressive job, putting over that quiet ending with a genuine sense of rightness. Martyn Brabbins does his usual professional job on the podium, the orchestra sounds fine, and Hyperion’s sound lives up to its usual high standard. A winner.
David Hurwitz, ClassicsToday.com



Stojowski in New York City, 1913

...Throughout this disc Jonathan Plowright’s playing is simply a knockout. In the power and trenchancy of his playing (when required) he reminded me of John Ogdon at his finest. But besides calling for sheer virtuosity these concertos offer ample opportunities for him to display delicacy, sensitivity and fantasy and never is he found wanting. The same is true of the BBC Scottish Symphony Orchestra under the energetic and perspicacious direction of Martyn Brabbins. Their accompaniments are superb, matching the flair, dexterity and passion of their soloist. Many CDs are issued which feature so-called neglected masterpieces but all too often it is readily apparent that the neglect of the works in question has not been unjustified. This is emphatically not the case here. Stojowski does sometimes linger a little self-indulgently but overall these concertos are expertly crafted and they contain memorable thematic material – all, right, let’s be honest, good tunes, in fact. In short, both are hugely enjoyable. I count them as major discoveries and I have no doubt that when the editor seeks nominations for CD of the year this release will be very high on my shortlist. In summary, this CD offers top class musicianship, excellent notes, fine recorded sound and an opportunity to hear two marvellous, scandalously neglected romantic piano concertos. Enjoy!
John Quinn, Musicweb.com

... This is a simply tremendous release ... A truly great recording, an award-winner if ever I heard one (International Record Review) ... A composer with a strong personal identity that never falls back on the commonplace or routine. Jonathan Plowright is on breathtaking form (International Piano) ... This is a welcome addition to the Romantic Piano Concerto series that Hyperion is issuing. Jonathan Plowright plays both concertos brilliantly, and Martyn Brabbins leads the orchestra enthusiastically. The sound is superb (American Record Guide) ... Jonathan Plowright has the chops and instinct for this kind of music ... The first piano concerto alone would make this new release a must for mavens of neglected Romantic era works. However, its companion piece takes matters entirely to a new level. Stojowski’s Piano Concerto No. 2 deserves to be far better known, and this recording supplies an excellent introduction (Fanfare, USA) ... Stojowski could hardly have found a better interpreter than Jonathan Plowright, who plays with affection, understanding and sometimes breathtaking virtuosity (BBC Music Magazine) ... Jonathan Plowright and Martyn Brabbins give both works an ardency that’s all the more persuasive for its detail of light and shade (The Irish Times)



Jonathan Plowright
Zygmunt Stojowski

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!!!

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This post has been edited by vpenev on 09-07-2007, 04:40

The Hyperion Romantic Piano Concerto series

Volume 29: Moscheles Piano Concertos no. 2 & 3





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

Piano Concerto no. 2 in E flat major, op. 56 (1815-21)
I. Allegro moderato [12:37] - II. Adagio [7:59]
III. Allegretto : tempo di polacca [10:32]
Piano Concerto no. 3 in G minor, op. 60 (1821)
I. Allegro moderato [15:11]
II. Adagio [5:11] - III. Allegro agitato [9:18]
Anticipations of Scotland : A grand fantasia, op. 75
for piano and orchestra (1826) [14:58]

Howard Shelley, piano and conducting
Tasmanian Symphony Orchestra

Recorded in Federation Concert Hall, Hobart, Tasmania on 7-9 August 2001
Recording engineer, Andrew Dixon. Recording producers, David Garrett & Howard Shelley
© 2002 Hyperion Records Ltd. CDA67276

In March 2000‚ I lamented the lack of outstanding recordings of Moscheles’ music and suggested a golden opportunity for Hyperion’s Romantic Piano Concerto series. My prayer is answered by Howard Shelley who‚ in his triple role of pianist‚ conductor and producer‚ offers yet another disc of aristocratic brilliance and distinction. In the words of Harold Schonberg‚ Moscheles may have ‘practised his piano and watched the world go by’‚ but his outward calm masked a fierce desire to excel‚ and I can easily imagine a wry look from Shelley at the mention of such geniality. ‘Try playing him‚’ you almost hear him exclaim‚ ‘and see whether you still think him genial!’ Certainly both the Second and Third Concertos bristle with enough savage jumps and hurdles to throw a less than first class performer; woe betide the pianist without flawless scales and arpeggios (often twisting into awkward and unpredictable patterns). Moscheles’ contemporaries‚ hungry for heartstopping acrobatics‚ surely left the concert hall thrilled and gratified. But there are also many fascinating purely musical surprises. The Polonaise which ends the Second Concerto may be fashionable rather than proudly nationalistic but there is a startlingly dramatic turn at the close of the Third Concerto’s Adagio‚ a prophecy of the rhetorical recitatives at the heart of the Larghetto from Chopin’s F minor Concerto which followed three years later. Finally‚ and most engagingly‚ Moscheles was highly responsive to local colour‚ paying tribute to his adopted city of London in his Fourth Concerto by quoting the ‘March of the Grenadiers’ and‚ in his Anticipations of Scotland: A Grand Fantasia‚ to folk songs and dances north of the border. Who can resist the assurance of ‘Auld Robin Grey’ (though even he breaks out into a flash of virtuosity) or a strathspey sufficiently perky to set all true Scotsmen’s blood tingling. The recordings‚ made in Tasmania‚ are excellent‚ the Tasmanian Symphony Orchestra enter into the spirit of things with verve and affection‚ and Nicholas Temperley’s scholarly essay is an added bonus. Curiosity concerning Lord Moira (1754-1826 – as in ‘Lord Moira’s Strathspey’) is certainly satisfied when we learn that he was a popular commander-in-chief in Scotland and later GovernerGeneral of India. Hyperion’s immaculate presentation includes a photograph of the frontispiece for Anticipations of Scotland and there are several fine portraits of both Moscheles and Howard Shelley. What good news that more Moscheles is promised from this source.
Bryce Morrison, Gramophone, August 2002



Anticipations of Scotland’s original title page

Prague-born Ignaz Moscheles grew to maturity as a young virtuoso alongside such contemporary titans as Hummel, Cramer and Weber. Venerating Mozart and Clementi, he lived to see the adulation of the Liszt cult and it’s perhaps tempting to see Moscheles as a locus classicus of the early romantic dilemma – inheritor of Mozartian procedures but straining to encompass a wider body of expression. In that of course he was not alone – and I think it would be fair to say that he succeeded far more comprehensively and more persuasively in his solo piano works than in his concertos. He apparently admitted that he found problems with the orchestration of the Concertos, though there is certainly nothing either improper or limited in a conventional sense about the carapace he placed around the solo part. But there is, ultimately, a lack of melodic distinction to these works that render them peripheral to the struggles of the early romantic literature, though not, obviously, without moments of interest.

Moscheles wrote eight Piano concertos between 1819-38. The Third is the best known and has been recorded several times before. It’s a strong, powerful work that struggles to balance Classical equilibrium with more subjective Romantic elements. The maintenance of such dichotomous material was inherently problematical, though it has to be said that Moscheles’ acknowledgment of it was implicit in his scores and it’s a welcome sign of his imaginative engagement that he was prepared to attempt the coalescence of such material in his writing. To the Mozartian frame Moscheles looked to Beethovenian propulsion: this added a determined syntax to the development of the First Movement of the Third Concerto which still manages to breathe effortlessly. The slow movement’s brass interjections and thematically rather theatrical gestures lead to the piano’s scampering insouciance; Moscheles floods the movement with lightness and a measured largesse of spirit but is reluctant ever to plumb great fissures of feeling. He remains an urbane cosmopolitan when it comes to depth. In the earlier Second Concerto, published in 1825 but first performed some years previously his Mozartian proprieties are fleshed out orchestrally, extended but never inflated. Throughout the first movement elements of Polonaise rhythm threaten to become explicit and the anticipation of Chopin is palpable here; it wasn’t only Field and Hummel who occupied some amorphous proto-Chopinesque territory. Again Moscheles’ slow movement is a decorative and rather frilly one whilst the dotted noted finale makes clear what the first movement hinted at – a Polish dance movement. The grandiloquently titled Anticipations of Scotland; A Grand Fantasia was written when Moscheles lived in England – as he did for over twenty years; playful, frequently variational in form, employing the expected dance rhythms. Performances are good; sometimes the strings sound undernourished in the Concertos. Not a disc of undiscovered masterpieces obviously but a sure reflection of the dilemmas confronting a talented composer, thematically and stylistically, during two decades of the early 19th century. Jonathan Woolf, Musicweb.com



Ignaz Moscheles
Howard Shelley

Very agreeable music of the Romantic era, well constructed and melodious. Highly recommended (International Record Review) ... Two concertos in richly-textured performances, full of decorative appeal and romantic melody (The Daily Telegraph) ... Highly recommended (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)
Please note that Hyperion wrongly states the Third Piano Concerto
as op. 58 instead of the correct opus number, 60.
Check Moscheles’ complete catalogue at Moscheles.org.

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

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This post has been edited by vpenev on 19-07-2007, 02:05

The Hyperion Romantic Piano Concerto series

Volume 30: Lyapunov Piano Concertos





Sergei Mikhailovich Lyapunov
Yaroslavl (Central Russia), November 30, 1959 – Paris, November 8, 1924

Piano Concerto no. 1 in E flat minor, op. 4 (1889-90)
I. Allegro con brio - attacca: [6:53] - II. Adagio non tanto - attacca: [3:06]
III. Allegro moderato e maestoso - attacca: [4:54] - IV. Adagio non tanto - attacca: [3:28]
V. Allegro con brio [4:07]
Rhapsody on Ukrainian Themes, op. 28 (1907)
I. Andantino pastorale - attacca: [6:59] - II. Allegretto scherzando - attacca: [3:02]
III. Andantino pastorale - attacca: [2:17] - IV. Allegro giocoso [4:50]
Piano Concerto no. 2 in E major, op. 38 (1908-09)
I. Lento ma non troppo - attacca: [5:34] - II. Allegro molto ed appassionato - attacca: [1:31]
III. Allegro moderato - attacca: [2:36] - IV. Allegro molto - attacca: [3:22]
V. Lento ma non troppo - attacca: [1:12] - VI. Allegro molto [5:05]

Hamish Milne, piano
BBC Scottish Symphony Orchestra
Martyn Brabbins

Recorded in City Hall, Glasgow on 13 and 14 June 2002
Recording engineer, Simon Eadon. Recording producer, Andrew Keener
© 2002 Hyperion Records Ltd. CDA67326

Hyperion celebrates the 30th release in its invaluable The Romantic Piano Concerto series with a disc of Lyapunov’s works for piano and orchestra as beautiful as it is comprehensive. Whether in Opp 4, 28 or 38, you could never fail to guess the composer’s nationality, and even when you sense Balakirev’s eagle-eyed scrutiny of the First Concerto or Liszt’s influence in the Second, Lyapunov’s style invariably transcends the sources of his inspiration. Indeed, it is no exaggeration to say, as Edward Garden does in his excellent accompanying essay, that the hushed nocturnal opening to the Second Concerto is among the loveliest in the repertoire, setting the stage for every starry-eyed wonder. The writing is as lavish and ornate as even the most ardent lover of Russian Romantic music could wish – at 3’35" it’s like some richly embroidered cloth winking and glinting with a thousand different lights and colours. More generally, everything is seen through such a personal and committed perspective that all sense of derivation or of a tale twice told is erased. Such an overall impression would not, of course, occur if the performances were less skilful or meticulously prepared. Throughout, Hamish Milne holds his head high, lucidly and affectionately commanding cascades of notes, and he is stylishly partnered by Martyn Brabbins. There is competition in the Second Concerto from the urbane and scintillating Howard Shelley who is rather more immediately recorded on Chandos. But to have all three works on a single disc (the First Concerto receiving its first recording) is an irresistible bonus.
Bryce Morrison, Gramophone, March 2003.



Sergei Lyapunov
Hamish Milne

... Yet another programme that makes incomprehensible the narrow choice of 19th-century piano concertos heard in our concert halls today (BBC Music Magazine) ... Russian melodic flavour, colourful orchestration and sonorous piano writing is present in abundance throught this very welcome release ... The combination of Lyapunov’s complete piano-and-orchestra output on one disc, in excellent performances and superb recorded sound, make a favourable recommendation mandatory (International Record Review) ... With the risk of the laser beam totally ruining this new Hyperion release from repeated playing, I am now prepared to throw away a few more symphonies just to make room for more Lyapunov! (Pianist) ... Milne, as usual, offers resilient rhythms and tightly focused phrasing marked by a refreshing attention to detail ... you’re unlikely to hear a better performance of this repertoire in the foreseeable future (Fanfare, USA) ... This is one of the very best entries in Hyperion’s ongoing survey, and I’m pleased to recommend it to you without the slightest hesitation' (American Record Guide) ... This is bejewelled writing carried off with spiritual and technical mastery by Milne (musicweb.uk.net) ... There’s no denying the sumptuous virtuosity inherent in these pieces, which pianist Hamish Milne tosses off with obvious relish and technical assurance (ClassicsToday.com)

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 19-07-2007, 03:55

The Hyperion Romantic Piano Concerto series

Volume 31: Fuchs & Kiel Piano Concertos





Robert Fuchs
(Frauental an der LaЯnitz, southern Austria, February 15, 1845 – Vienna, February 19, 1927)
Piano Concerto in B flat minor, op. 27 (1879-80)
I. Allegro maestoso ed energico [17:28] - II. Andante sostenuto [8:49]
III. Allegro con fuoco ma non troppo [10:10]

Friedrich Kiel
(Bad Laasphe, Puderbach, southwestern Germany, October 8, 1821 – Berlin, September 13, 1885)
Piano Concerto in B flat major, op. 30 (1864)
I. (without tempo marking) [14:28]
II. Adagio con moto [5:01] - III. Allegro vivace [7:34]

Martin Roscoe, piano
BBC Scottish Symphony Orchestra
Martyn Brabbins

Recorded in City Hall, Glasgow on 7, 8 December 2001
Recording engineer, Simon Eadon. Recording producer, Andrew Keener
© 2003 Hyperion Records Ltd. CDA67354

Music in Germany in the later 19th century found itself divided into two camps; the modernists, led by Liszt and Wagner, and the traditionalists who took Brahms as their model and who upheld the values of the classical period and Beethoven in particular. Fuchs and Kiel are very much in the later camp and both spent their lives in academic posts, as so often befits such establishment figures. They each wrote only one piano concerto and, as one might expect, these are not vehicles for empty virtuoso display but rather ‘symphonic’ concertos, both written in the traditional three movements, the first of which is a weighty sonata form allegro. The influence of Beethoven can be heard in each and the later Fuchs piece also shows a debt to Brahms. ... Martin Roscoe, who did such a fine job with the similar Brьll concertos is our soloist and Martyn Brabbins and the BBC Scottish Symphony Orchestra give their usual inspired accompaniment. Both works are premiere recordings.
Arkivmusic.com

Joseph Fuchs (1847-1927) and Friedrich Kiel (1821-85) each wrote a piano concerto and, while hardly neglected masterpieces, they form impressive additions to Hyperion’s superbly presented Romantic Piano Concerto series (amazingly this is the 31st issue). High praise for both works comes from Hartmut Wecker in his long and scholarly accompanying essay. Countering claims that Fuchs was ‘a fossil of a bygone age,’ too close to Brahms to attain independent artistic respect, he writes of ‘a beautiful, masterly and virtuoso piece’ and, more particularly, claims that, once heard, the reprise of the chorale from the second movement will never be forgotten. Regarding Kiel, he notes how the influence of Chopin, Mendelssohn and Schumann is ‘absorbed into a thoroughly personal style’ and that the Piano Concerto is ‘an undisputed masterpiece’.
Yet despite such enthusiastic claims, both concertos quickly fell into dusty oblivion and I doubt whether, even given Martin Roscoe’s imperturbable grandeur and authority and Martyn Brabbins’s expert partnership, either concerto stands much chance of survival. Fuchs’ themes may be appealing but they are rarely memorable, and Kiel’s more obvious virtuoso trimmings derive too obviously from other truly great composers (as well as Scharwenka whose glittery Second Concerto is a key influence) to leave a lasting impression. Fuchs, too, was surely intimidated as well as privileged to live under the shadow of Brahms, who kept an eagle eye on his protйgй – clearly admiring him so long as he knew his place, existing within the sun of his own glory. Still, if neither concerto is of genuine stature they could hardly be performed in a more masterly and eloquent style and this time Roscoe has been ideally balanced with his orchestra. Hyperion’s sound is of demonstration quality and all lovers of a fascinating series will have to add this to their collection.
Bryce Morrison, Gramophone, July 2003



Robert Fuchs
Friedrich Kiel

... Iirresistible (The Independent) ... Martin Roscoe’s performances with the BBC Scottish Symphony Orchestra and Martyn Brabbins make strong advocacy for these two 19th century charmers (The Times) ... Both works are immediately attractive and good-hearted, stuffed full of engaging musical ideas satisfyingly exploited in craftsmanship of a high order ... I enjoyed this disc enormously (International Record Review) ... Needless to say, the performances and recording are immaculate (Classic FM Magazine) ... You can’t fault the magic wand of Martyn Brabbins, the sincere advocacy of the superlative Martin Roscoe nor the spirited and sensitive playing of the BBC Scottish band (BBC Music Magazine) ... Roscoe, the BBC SSO and Brabbins play these attractive works with devotion and panache (Sunday Times) ... This release has everything a Romantic piano concerto could wish for ... the interplay between Roscoe and Brabbins lifts the music way above the dusted life it had for years (Pianist).

Three languages-, 28 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)

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 20-07-2007, 06:33

Я уже в очереди стою месяц. Скажите, у меня есть шансы скачать эти файлы? Ратио у меня где-то 1,8, т.е. положительный.

This post has been edited by beartt on 22-07-2007, 11:41

Что то не понимаю. В каком смысле эсть ли шансы? О какой очереди говоришь? Просто начинай качать. Эсли сидов нет на данном волуме просто нажимай бутон SOS чтоб пустили сид. Или посилай ЛС скачавшим чтоб пустили сид. И это все. Никакой очереди нет.

This post has been edited by vpenev on 22-07-2007, 22:28

Спасибо.
SOS нашел.
А вот кому писать ЛС, если сидов нет, по-прежнему непонятно.
Форсированно стартовал три закачки, спасибо, с остальными-то что делать, сидов нет, например, на дисках 28-31?

А я-то стеснялся форсированно стартовать закачки. Думал, что нужно придерживаться очереди, не лезть вперед других.

This post has been edited by beartt on 22-07-2007, 23:10

Когда нажимаешь на бутон SOS система автоматически рассилает ЛС всем, кто скачали релиз с просбой запустит сид. То же самое можешь сделать и сам вручную посилая такой же просьбой тех, кто скачали релиз. (На страница каждого торента эсть опция Скачали [Посмотреть список]. Нажимаеш на Посмотреть список и появляеться список скачавших - им и посылаешь ЛС с просбой.)

В трекерах очереди нет - это не ослосеть. Наобороть - надо стремиться двигаться с основную масу качающих насколько это возможно. Тогда качаешь быстрее и отдаешь лучше.

Насколько успел заметить однако эсть другая проблема. Дело в том, что страницы торентов для некоторые из волумов этой серии вероятно были стереты с базы трекера после того как делали последный апгрейд прошлого месяца. Поэтому некоторые линки данные в начало этой темы не ведут никуда. В свою очередь это означает что вероятно придеться заливать их снова. К сожалению сейчась не могу сделать это из за кризиса дископатии (правая рука очень болит ). Поэтому прошу тебя сразу начать качать все нестертые волумы и послать мне ЛС с списком стертых волумов, которые придеться заливать снова. Так что не жди - снимай все доступные закачки, запускай в клиент, жми бутон SOS или пускай ЛС скачавших с просьбой запустит сид. А для волумов, которые стерли, посылай мне список в ЛС.

This post has been edited by vpenev on 23-07-2007, 00:24

Спасибо. Начальные тома у меня все есть, Те, которые в закачке - качаются все. Спасибо за урок, учту.

Эсли можешь пусти сид на отсуствующие волумы. Можеть быть если появиться сиды, то и отсуствующие страницы всплывут в база трекера. Тогда я сниму торент файлы и включу сид тоже чтоб поддерживать их некоторое время.

Кстати я просматриваю сейчась все волумы и запускаю сид на те, которые не стерты с базы. К сожалению когда заливал не сохранял ни торeнт файлы ни инфо страницы. Поэтому не могу пустить сид на отсуствующих, которые по всей вероятности придется заливать снова.

Вот и резултат проверки:
VOL1: CD RESEED http://torrent.e2k.ru/details.php?id=11985
VOL2: CD http://torrent.e2k.ru/details.php?id=9492
VOL3: CD http://torrent.e2k.ru/details.php?id=9517
VOL4: CD http://torrent.e2k.ru/details.php?id=9524
VOL5: CD http://torrent.e2k.ru/details.php?id=9626
VOL6: CD http://torrent.e2k.ru/details.php?id=9654
VOL7: CD http://torrent.e2k.ru/details.php?id=9684
VOL8: CD http://torrent.e2k.ru/details.php?id=9692
VOL9: CD http://torrent.e2k.ru/details.php?id=10162
VOL10: CD http://torrent.e2k.ru/details.php?id=10185
VOL11: CD RESEED http://torrent.e2k.ru/details.php?id=11987
VOL12: CD RESEED http://torrent.e2k.ru/details.php?id=11988
VOL13: CD RESEED http://torrent.e2k.ru/details.php?id=11989
VOL14: CD http://torrent.e2k.ru/details.php?id=10441
VOL15: CD http://torrent.e2k.ru/details.php?id=10551
VOL16: CD http://torrent.e2k.ru/details.php?id=10553
VOL17: CD http://torrent.e2k.ru/details.php?id=10555
VOL18: CD http://torrent.e2k.ru/details.php?id=10556
VOL19: CD RESEED http://torrent.e2k.ru/details.php?id=11992
VOL20: CD http://torrent.e2k.ru/details.php?id=10670
VOL21: CD http://torrent.e2k.ru/details.php?id=10822
VOL22: CD http://torrent.e2k.ru/details.php?id=11018
VOL23: CD http://torrent.e2k.ru/details.php?id=11151
VOL24: CD http://torrent.e2k.ru/details.php?id=11262
VOL25: CD http://torrent.e2k.ru/details.php?id=11400
VOL26: CD http://torrent.e2k.ru/details.php?id=11504
VOL27: CD http://torrent.e2k.ru/details.php?id=11665
VOL28: CD http://torrent.e2k.ru/details.php?id=11771
VOL29: CD http://torrent.e2k.ru/details.php?id=11911
VOL30: CD http://torrent.e2k.ru/details.php?id=11912
VOL31: CD http://torrent.e2k.ru/details.php?id=11926
VOL32: CD http://torrent.e2k.ru/details.php?id=11983
VOL33: CD http://torrent.e2k.ru/details.php?id=11984
VOL34: CD http://torrent.e2k.ru/details.php?id=12041
VOL35: CD http://torrent.e2k.ru/details.php?id=12058
VOL36: CD http://torrent.e2k.ru/details.php?id=12123
VOL37: CD http://torrent.e2k.ru/details.php?id=12133
VOL38: CD http://torrent.e2k.ru/details.php?id=12172
VOL39: CD http://torrent.e2k.ru/details.php?id=12173
VOL40: CD http://torrent.e2k.ru/details.php?id=12210
VOL41: CD http://torrent.e2k.ru/details.php?id=12243
VOL42: CD http://torrent.e2k.ru/details.php?id=12258

Выходить что Vols. 1, 11, 12, 13, 19 придется заливать снова. На всех остальных запустил снова сид.

This post has been edited by vpenev on 11-08-2007, 07:54

11 я не качал, у меня он есть на диске. 12,13,19 пустил. 1 успел уничтожить торрент, увы.

Несмотря на то что ты запустил сид на томов 12,13,19 они все таки не видны в трекер. Так что нет смысла продолжать сидит эти волумы - никто не сможет скачать их не имея доступ к соответсвующих страницах, содержащих торент файлы. Придется залить снова всех отсуствующих томов.

This post has been edited by vpenev on 23-07-2007, 21:01

The Hyperion Romantic Piano Concerto series

Volume 32: Moscheles Piano Concertos no. 1, 6 & 7



Ignaz Moscheles
(Prague, May 23, 1794 – Leipzig, March 10, 1870)

Piano Concerto no. 1 in F major, op. 45 (1818 rev. 1823)
I. Allegro maestoso [9:17] - II. Adagio [6:32]
III. Rondeau : Allegro vivace [6:32]
Piano Concerto no. 6 in B flat major, op. 90 "Fantastique" (1834)
I. Allegro con spirito - attacca: [6:17] - II. Andante espressivo - attacca: [5:24]
III. Allegro agitato - attacca: [1:17] - IV. Vivace [4:07]
Piano Concerto no. 7 in C minor, op. 93 "Pathйtique" (1835)
I. (no tempo marking) [11:33]
II. Allegro agitato - attacca: [3:46] - III. Allegro con brio [6:56]

Howard Shelley, piano and conducting
Tasmanian Symphony Orchestra

Recorded in ABC Odeon, Hobart, Tasmania on 30 August - 2 September 1999
Recording engineer, Andrew Dixon. Recording producers, David Garrett & Howard Shelley
© 2003 Hyperion Records Ltd. CDA67385

In last year’s August issue I celebrated the arrival of the first of Howard Shelley’s Moscheles concerto cycle, marvelling at his stylistic elegance and nimbleness in a triple role of pianist, conductor and producer. Here in Volume 2 he once again lays a sparkling enchantment across even the most innocent pages, while also reminding us in his subtlety wit and pace of Moscheles’s only outwardly conservative nature. As Henry Roche so finely puts it in his accompanying notes, ‘the earlier five concertos retain a firmly classical orientation, even though each shows different facets of the composer’s originality and exploratory bent’. Later, in his last three concertos, Moscheles moved on with an increasing sense of drama and novelty, his titles – Fantastique, Pathйtique and Pastorale (No 8) and his directions at the conclusion of the Seventh Concerto (con furia, con abbandono, frenetico and con disperazione) declaring their Romantic provenance. Even so, it is hard not to fall for the First Concerto’s memories of Mozart, of its amiability and clear-sightedness. In the finale, in particular, one frisky delight follows another; with its toy fanfares, bustle and importance and concluding rush of events, it is as if Lilliput had taken to the battlefield.
The later concertos are richer, darker and more inclusive, with ideas growing and expanding with a greater expressive intensity. Moscheles may have grumbled at what he saw as Chopin’s ‘irregularities’ and audacity, but in Concertos Nos 6 and 7 he takes on board a recognisable wistfulness and floridity, adding to the influences of Hummel and Mendelssohn while at the same time maintaining his own distinctive voice. Nonetheless, such music demands a very special performance if its virtues are to outshine its limitations and Shelley’s expertise, his immaculate charm and brio cast a brilliant light on every page. His Tasmanian orchestra is with him all the way and Hyperion’s sound and balance are of demonstration quality. An exemplary issue; I can scarcely wait for Volume 3.
Bryce Morrison, Gramophone.co.uk



Ignaz Moscheles
Howard Shelley

The Moscheles of the 1818 concerto instantly announces himself as a Mozart disciple. The style is best likened to the Mozart of concertos 20-25, though Moscheles laces the perfection of elegance and regret with cheeky spirited confidence as in the Rondeau finale of the first concerto. Twenty years later, in the other two concertos the ebullience and gentle ardour have moved very close to Schumann. However there is something distinctively personal in the magically unpredictable and elusive Andante as well as in the tempestuous Allegro and Vivace of the Fantastique. There are some brilliantly effective musical gestures such as the solo line from 00.53-1.38 in the Vivace finale. The same can be said of the first movement of the overcast first movement of the Pathйtique which is Bohemian and storm-pent. This style is familiar from Mendelssohn as in the Ruy Blas or Fair Melusine overtures. After a skittish Allegro agitato comes an allegro con brio which is touched with the grace phrases we expect from early Beethoven. These are by no means the ‘glitter and surface’ affairs you might have expected: this is supremely fashioned entertainment with a touch of pathos along the way. They will appeal to lovers of the concertos by Mendelssohn, Schumann and Beethoven. These are freshly performed and directed by Howard Shelley and well documented by Henry Roche. No need for Hyperion to do anything other than hold their heads high over this one.
Rob Barnett, musicweb.com

... I defy anyone not to be captivated by this delightful, witty, rhythmically vital and spontaneously inventive work, especially when played as stylishly as here (International Record Review) ... Shelley’s nimble, elegant playing, while leading his excellent Tasmanian players, is a musical wonder (Classic FM Magazine) ... Howard Shelley and the Tasmanian Symphony Orchestra give solid accounts of these intriguing scores (The Times) ... a thoroughly enjoyable disc (BBC Music Magazine) ... Howard Shelley's account of the First, Sixth and Seventh of the eight Moscheles piano concertos provides powerful argument for their return to the repertoire (International Piano) ... played with a taste and vivacity that reflect the temperament of the music ... The thing that strikes you most about this music is its lively originality (The Daily Telegraph)

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 23-07-2007, 23:10

The Hyperion Romantic Piano Concerto series

Volume 33: Scharwenka Piano Concertos no. 2 & 3



Franz Xaver Scharwenka
(Samtner near Poznan, Poland, January 6, 1850 – Berlin, December 8, 1924)

Piano Concerto no. 2 in C minor, op. 56 (1880)
I. Allegro [20:40] - II. Adagio [10:49]
III. Allegro non troppo [9:16]
Piano Concerto no. 3 in C# minor, op. 80 (1899)
I. Maestoso [15:53] - II. Adagio [9:20]
III. Allegro non troppo [12:49]

Seta Tanyel, piano
Radio Philharmonie Hannover des NDR
Tadeusz Strugala

Recorded at Grosser Sendesaal, Funkhaus Hannover des NDR in 1996
Recording engineer, Bjцrn Brigsne. Recording producer, John H. West
© 2003 Hyperion Records Ltd. CDA67365
Originally issued on Collins Classics, 14852

In the 1990s Seta Tanyel recorded a sizeable amount of Scharwenka for the now defunct Collins Classics, and it is gratifying to find her series re-surfacing on Hyperion. Hearing the Second and Third Piano Concertos again, I was struck by her elegant way of easing through every intricacy and arabesque with the instincts of a born musical aristocrat. She can thunder with the best of them in, for example, the Third Concerto’s cadenza, but it is always ‘sweet thunder’ and you never hear an unmusical note or an ill-shaped phrase. Terms like dolce take on a special meaning in such sympathetic hands – never more so than in the Third Concerto’s winning Adagio, where Scharwenka so loves his main theme that he returns to it again and again, compelling the listener to delight in its romantic yearning. In more frisky territory, Tanyel is light-fingered and resilient in the Polish dance of the Third’s first movement (at 6'10"). But if I miss something of Michael Ponti’s spine-tingling bravura in the Second’s display and ricocheting syncopation, and in much of the finale – where Martin Eastwick notes a ‘distinctly Eastern, perhaps...a slightly Yiddish colouring’ – Tanyel’s playing is more musical, less angular and intent on cutting a dash. This is No 33 in Hyperion’s ‘Romantic Piano Concerto’ collection, an admirable addition to an admirable series. The recordings retain their original excellence and Tadeusz Strugala and the German orchestra back their stylish soloist to the hilt.
Bryce Morrison, Gramophone.co.uk



Xaver Scharwenka
Seta Tanyel

... Seta Tanyel’s outstanding performances are suffused with the very epitome of the romantic soul (American Record Guide) ... there is a meaty flamboyance to both these concertos, giving them a personality of their own. Seta Tanyel brings to them an impressive strength of purpose and a rhapsodic lyrical spirit that project the music with appealing panache (Daily Telegraph)

Three languages-, 12 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 23-07-2007, 23:36