Classical Music

Recorded in: Oslo Philharmonic Hall 11-13 August 1986 Producer(s) Brian Couzens Sound Engineer(s) Ralph Couzens Dag Kristofferson [Assistant]

Classical Music

This is the fourth volume of the BBC Phiharmonic's five-disc cycle of Liszt's Symphonic Poems, conducted by Gianandrea Noseda. This monumental survey continues to go from strength to strength through Noseda's passionate conducting and innate Italian romanticism and has made possible a reappraisal of these unjustly neglected works.

The Telegraph wrote, "...it is hard to imagine them ever sounding better than here. This is music-making full of rich colouring, refined shaping of melodic line and emotional power."

Between 1848 and 1858 Liszt wrote twelve Symphonic Poems. He coined the term Symphonische Dichtung around 1853 to describe these musical works whose ideas were inspired by other art forms such as poetry or painting, or by characters and scenes. The works were particularly revolutionary for they are one-movement compositions, rather than the traditional four-movement form and pushed the boundaries of orchestration, form, harmony and structure. In this fourth instalment, the BBC Philharmonic presents four key works in Liszt's symphonic catalogue.

Hamlet is rarely performed, yet widely acknowledged as one of Liszt's greatest works, and chronologically the last of the symphonic poems to be composed. It was intended as an overture to Shakespeare's play. Hungaria was composed following Liszt's first return visit to Hungary in 1839 having moved from his homeland aged 11. He was welcomed with open arms as a great celebrity and artist by his compatriots Undoubtedly inspired by this visit, the post Vörösmarty wrote his patriotic ode 'To Ferenc Liszt' to which Liszt eventually responded with his pisodic work based on quotes from a poem by Friedrich Schiller and was first played in 1857 in Weimar, conducted by the composer. The final work, Battle of the Huns takes its inspiration from Kaulbach's painting of Attila the Hun.

The final volume of this epic series is released in 2009 and will include the Dante Symphony. Also available: Volume 1: CHAN 10341 Volume 2: CHAN 10375 Volume 3: CHAN 10417

Classical Music

Includes work(s) for piano by Franz Liszt. Soloist: Louis Lortie.

Classical Music

Paul Dukas is almost entirely known for his popular tone poem 'The Sorcerer's Apprentice'. This work is, of course, included in this release; however, these discs also offer several larger sclae works, including his impressive Symphony in C major and the Overture Polyeucte as well as the delightful ballet La Péri. Three examples of his rarely performed but no less impressive piano music are performed powerfully by Margaret Fingerhut who received lustrous reviews on the original release. The music of Dukas is highly colourful and atmospheric, demonstrating his somewhat eclectic inspirations, which included Wagner and Franck, as well as the beauty of classical form. There have been relatively few recordings of the Symphony in C major and it is not commonly performed outside France. 'The rumbustious end to the first movement, with some superb brass and vigorous percussion, is a moment to be savoured', wrote Gramophone. The rarely recorded Polyeucte overture is a powerful work in five sections. In the work of Dukas, the Orient was the most seductive foreign influence, as demonstrated in La Péri, his last major work, written for Diaghilev in 1912. Yan Pascal Tortelier is famous for his interpretations of French music and plays this music with idiomatic flair. This bargain two-CD set, which includes the main orchestral and piano mastpieces of Dukas, is an ideal summation of the achievement of this wonderful composer.

This is a hybrid Super Audio CD playable on both regular and Super Audio CD players.

All tracks have been digitally mastered using 24-bit technology.

Includes work(s) for piano by Claude Debussy. Soloist: Jean-Efflam Bavouzet.

Classical Music

Classical Music

"Howard Shelley has made a project of recording Hummel’s eight piano concertos. This C-Major concerto is the composer’s first mature work in this genre, written in 1809—the same year that Beethoven wrote his “Emperor” concerto. There are surface resemblances between the two concertos. In their outer movements, we catch a whiff of the military parade ground (if not the battlefield). The middle movements are long-breathed songs of limpid beauty. Of course, the difference between the two is that Beethoven’s concerto is surprising and innovative, while Hummel’s is (for the most part) safe and rather predictable. Let’s face it, though: aren’t there times when you are relieved by things that are safe and predictable?

The Rondos brilliant date from approximately 1814 and 1822, respectively. Each is just over 16 minutes long. The first one is musique pour les dames, and the second is based on Russian folk material. (Hummel was touring Russia when he wrote it.) If the relatively lengthy C-Major concerto (34:49) is a panoramic canvas, these two works are concertos in miniature—perfectly formed, thoughtfully appointed, and precise... Shelley’s performances, leading the London Mozart Players from the keyboard of a Steinway concert grand, do not attempt to make Hummel into the firebrand that he was not. This is stylish, always genteel playing, reminding us that Hummel was a young protégé of Mozart. Although Hummel’s slow movements sometimes anticipate Chopin, particularly in the decoration of the piano part, that sort of pre-Romantic freedom is not emphasized here. The musicianship overall is small-scaled, but not disappointingly so. Chandos’s engineering is bright, and Derek Carew’s booklet notes are informative."

Raymond Tuttle, FANFARE

REVIEW:

James Ehnes turns in an absolutely sensational account of Dvořák's sunny and melodically sumptuous Violin Concerto. His warm, singing tone sounds as if made for this music, whether in the heartfelt slow movement or in his infectious, vivacious account of the finale. Indeed, it's remarkable how idiomatically Ehnes and conductor Gianandrea Noseda capture the spirit of the piece, and note how characterfully Ehnes and the orchestra interact throughout. The violin/timpani duo in the finale is balanced with particular clarity and care, and the rush to the finish is absolutely thrilling. Noseda deserves particular credit for his characterful launching of the concerto's opening, and for the sense of drama he brings to the orchestral tuttis in the outer movements. This concerto has been making a big comeback in the past few years, rightly so, and while there are numerous excellent recordings (Suk/Ancerl first among them), this rendition belongs in the company of the best.

The Piano Concerto also receives a lively, intelligently shaped performance, once again benefiting from Noseda and the BBC Philharmonic's vigorous participation...Hayroudinoff plays his part well, particularly in this zippy account of the finale[.]

So: I recommend this disc for the wonderful account of the Violin Concerto by Ehnes. It's a performance that anyone who loves the work will want to hear. Hayroudinoff's rendition of the Piano Concerto is certainly also good from a purely pianistic point of view, and Noseda's contribution is wholly positive, but I wouldn't say that it reveals a deep understanding of the piece on its own terms, and this is certainly possible irrespective of the edition of the solo part employed. A bit less ego from the pianist and we might have had an excellent modern reference edition for both pieces. Terrific sound too.

-- David Hurwitz, ClassicsToday.com