One of the most grown-up review sites around

2019
50,000 reviews
and more.. and still writing ...

Search MusicWeb Here

     
  
 

 

International mailing


  Founder: Len Mullenger             Senior Editor: John Quinn               Contact Seen and Heard here  

Some items
to consider

TROUBADISC

A most rewarding CD
Renate Eggebrecht violin

REFERENCE RECORDINGS

Nick Barnard review
Michael Cookson review



Acte Prealable returns
with New Releases


Anderson Choral music


colourful and intriguing


Artyomov
Pekarsky Percussion Ensemble


one of Berlioz greatest works


Rebecca Clarke Frank Bridge
High-octane performances


An attractive Debussy package


immaculate Baiba Skride


eloquent Cello Concerto


tension-filled work


well crafted and intense


Laangaard
another entertaining volume


reeking of cordite


Pappano with a strong cast


imaginatively constructed quartets


the air from another planet


vibrantly sung


NOT a budget performance


very attractive and interesting


finesse and stylistic assurance


Support us financially by purchasing this from

Franz Peter SCHUBERT (1797-1828)/Ferrucio BUSONI (1866-1924)
Complete Transcriptions for Solo Piano
Overtures: E minor, D648 (1819) [7:03]; D, D556 (1817) [6:34]; B flat, D470 (1816) [6:28]; D, D26 (1812) [6:51];
D, D4, “Der Teufel des Hydraulicus” (1812) [3:49]
Overtures in the Italian Style (1817): C, D591 [7:02]; D, D590 (1817) [7:12]
Minuets with Trios, D89 (1813) [13:19]
German Dances with Trios and Coda, D90 (1813) [13:16]
Marco Vincenzi (piano)
rec. Chiesa di S. Marino di Premanico, Genova, Italy, June, 2016
DYNAMIC CDS7712 [71:24]

Busoni transcribed seven out of a total of nine of Schubert’s Overtures. The booklet notes state, quite correctly in my experience, that these pieces are rarely heard in the concert hall today. I do remember playing one of the horn parts in one (I am pretty sure it was D590, but I may be wrong) in my formative years, but that would have been around 1980-ish. It seems a shame because there is much captivating music here, even heard (relatively) monochromatically on a piano. Vincenzi, in his full and excellent notes, posits that the connection is the “ambiguity between major and minor and the yearning for infinity”. Whatever it was that linked Busoni’s end-of-century transcriptions (1888/1889) to Schubert’s beginning-of-century originals, there is little doubt that the results make for worthwhile auditioning—particularly as they are World Premiere recordings.

Instead of the more usual Steinway, Bösendorfer, Bechstein or Yamaha, Italian pianist Marco Vincenzi opts for a Steingraeber, a Bayreuth-based company established in 1820 in Weimar, moving to Bayreuth in 1852. It is a fine instrument caught in a good recording, beautifully toned.

The ear does take a little while to adjust. The disc starts with the E minor D648, and Vincenzi pinpoints its grandeur. Yes, one hears the reduction, but he makes a powerful case. It is followed by the Rossini-influenced Overture in the Italian style D591, which finds Vincenzi sensitive, tender even, in the slower passages. Its sister piece D590 (they are preformed in that order) actually plumbs great depths; the more dramatic passages are less effective here, however.

The “regular” Overture in D D556 does sound banal initially. There is a suspicion of slightly uneven fingerwork here too; in contrast, Vincenzo is utterly convincing in the Overture D470, finding a Mozartian grace underpinning Schubert’s harmonic language. Single lines speak poignantly.

Lovely to see the two early overtures here. The D major D26 was scored for orchestra with three trombones. The booklet notes posit, credibly, the influence of Gluck here (Iphigenie en Tauride was an influence on the young composer). There are some simply gorgeous lyrical moments; a terrific piece. Finally for the overtures, D4, a short work that indeed does sound like a youthful experiment. No explanation is given in the booklet text as to its subtitle: “Der Teufel als Hydraulicus,” (The Devil as Engineer) is actually the title of the comedy (“Luststpiele mit Gesang”) it was meant to preface. No wonder it froths so much in its later stages. In fairness, the work does sound better in orchestral garb (there is a charming account on Naxos, with the Prague Sinfonia under Christian Benda, 8.570328: see MusicWeb review).

The set of Minuets with Trios D89 was originally for string quartet as Five Minuets and Six Trios. Busoni’s way with this is utterly charming, as is his arrangement of the German Dances (Deutsche Tänze). Vincenzi finds interest via texture even when one might argue Schubert’s muse fails him; the pedal work in particular clearly is carefully considered, and delivers the odd magical result.

Those who enjoy Vincenzi’s playing may wish to investigate his disc of Respighi chamber works, again on Dynamic (see MusicWeb review). To be honest, from the disc cover of the present release I pre-judged. I did not expect such a positive review to be forthcoming. But here it is: Vincenzi provides a most enjoyable way to spend just over an hour.

Colin Clarke

 

 



We are currently offering in excess of 50,400 reviews


Advertising on
Musicweb


Donate and keep us afloat

 

New Releases

Naxos Classical


Nimbus Podcast


Obtain 10% discount



Special offer 50% off
15CDs £83 incl. postage

Musicweb sells the following labels
Acte Préalable
(THE Polish label)
Altus 10% off
Atoll 10% off
CRD 10% off
Hallé 10% off
Lyrita 10% off
Nimbus 10% off
Nimbus Alliance
Prima voce 10% off
Red Priest 10% off
Retrospective 10% off
Saydisc 10% off
Sterling 10% off


Follow us on Twitter

Subscribe to our free weekly review listing
sample

Sample: See what you will get

Editorial Board
MusicWeb International
Founding Editor
   
Rob Barnett
Senior Editor
John Quinn
Seen & Heard
Editor Emeritus
   Bill Kenny
Editor in Chief
   Vacant
MusicWeb Webmaster
   David Barker
MusicWeb Founder
   Len Mullenger