Hyperion’s Romantic
Piano Concerto series is one of the
most significant recording ventures
in front of the public today. Only Turnabout
in the days of LPs attempted anything
quite so ambitious, with, of course,
Naxos entering the fray today. But the
standard of the Hyperion edition has
been so high, and it has done so much
to showcase both young and established
talent, with such exceptional recording
quality, that it remains without parallel.
Compliments are extended
also to the booklet-note writer, Jeremy
Nicholas, for his thoroughness. Kalkbrenner’s
eventful life is duly (and interestingly)
documented, as is his pianism. Apparently
Kalkbrenner told his pupils to read
a newspaper while practising technical
exercises. Now that’s my kind of teacher.
Mind you, that’s probably why I’m writing
about music rather than playing it ...
The First Concerto
has been recorded once before: Hans
Kann in 1973 – not a recording I have
heard, alas, and apparently in a truncated
version. It is difficult to imagine
stauncher advocacy than that displayed
by Shelley, however. Throughout the
thousands of ‘little notes‘ (the printed
page must be black!), Shelley’s articulation
is ever reliable, ever clear. His enthusiasm
for the music carries all before it,
inspiring his Tasmanian orchestra to
real heights. String articulation can
be a joy in the first movement, and
moments of drama are truly dramatic
- they could so easily be corny.
There is a lengthy
opening tutti in the first movement
– so much so that the soloist’s entrance
at 3:08 is thrown into high relief.
From then on, Shelley weaves his magic
so that the most mundane passagework
becomes interesting. By the way, his
left hand does a more than passable
imitation of two horns at around the
11:50 mark!
Jeremy Nicholas’s notes
point out that the extended use of the
solo instrument’s highest register in
the Adagio di molto stemmed from
the fact that Kalkbrenner’s own instruments
had this extended range. Dreamy and
utterly Chopinesque - fantastic right-hand
hemidemisemiquavers - this is a highlight
of the disc. Finally, an active Rondo
contains drastic mood-swings towards
the reflective. True, there is some
flagging of invention here, but note
the similarity of the final bars to
the close of Chopin’s E minor Concerto.
The Fourth Concerto
here receives its world première
recording. Interestingly, the score
calls for three trombones: one each
of alto, tenor and bass. The piano here
enters sooner than expected - within
the first minute - and sparkles immediately.
Shelley’s treble positively glistens
in Kalkbrenner’s bright sunlight. The
central Adagio is profoundly calming
– this alone justifies the recording.
Nicholas’s appraisal of the finale’s
themes as ‘vapid‘ is spot-on, but nevertheless
Shelley wins one round with his all-encompassing
enthusiasm.
Robert Schumann’s dismissal
of this work as ‘manufactured pathos
and affected profundity‘ seems a little
harsh in light of Shelley’s performance.
Anyone who revels in exploring the peripheries
of the repertoire will enjoy this disc
enormously.
Colin Clarke
The
Hyperion Romantic Piano Concerto Series
Tasmanian Symphony Orchestra/Howard Shelley
(piano).
