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Sir
Julius BENEDICT (1804-1885)
Piano Concerto in C minor, Op 45 (1850-1852) [26:15]
Piano Concerto in E flat major, Op 89 (1837-1867)
[32:59]
Walter MACFARREN (1826-1905)
Concertstück in E minor (1881) [11:36]
Howard Shelley (piano)
Tasmanian Symphony Orchestra/Howard Shelley
rec. April 2008, Federation Concert Hall,
Hobart, Tasmania, Australia. DDD
The Romantic Piano Concerto, Vol. 48 –
Benedict & Macfarren
HYPERION CDA67720 [70:50]  |
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The Hyperion Romantic Piano Concerto series shows no sign of running
out of material. It stands at the apex of any of the attempts
since the 1950s to revive the genre and has long outstripped the
Turnabout and Genesis LP series of the 1960s and 1970s.
The Benedict and Macfarren
works are all recording premieres involving much musicological
research and reconstruction of scores and parts. For this we
have to thank the RAM and John O' Carroll.
Julius Benedict was
born in Germany but became an inextricable part of the London musical
scene. a Pupil of Hummel, he made his name with the opera Lily
of Killarney in 1865. The Op. 45 Concerto is in three movements
as is its op. 89 companion. It’s not quite the glitter, water
and Schumann confection I was expecting. In fact the many woodwind
lines and romantic interventions at times recall Tchaikovsky
and Bellini and the inventive woodwind writing may well remind
some listeners of Berwald. As for the flanking movements these
sound like a collaboration between Mendelssohn and Beethoven.
This is pleasing and melodically grateful writing which avoids
any Lisztian Mephisto suggestions. The E flat major concerto
is six minutes longer than its predecessor. There are moments
when it touches on Dvořák, Schumann, Beethoven and Ries.
After the repose of the second movement comes the flowingly
galant Rondo Brillante with what seems homage to Schumann.
Walter Macfarren's Concertstück may well have been premiered
at Brighton in 1881. The language of poise and romance here drifts
between Beethoven's Fourth Piano Concerto and Schumann again.
The notes are by Nicholas
Temperley. A distinguished academic who is well placed to set
the scene for these satisfying revivals. Howard Shelley and
his Tasmanian collaborators approach their task with buoyancy
and élan and in this are abetted by a fine audio team.
These Benedict and
Macfarren are further evidence of Hyperion’s steady and dedicated
hand. Enthusiasts will lap this issue up. Very much a case of
the usual but with surprising and delightful flourishes served
up.
Rob Barnett
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