Carl Maria von WEBER (1786—1826)
Piano Concerto No 1 in C, WeV N.9 (J98, Op 11) (1810) [18:50]
Piano Concerto No 2 in E-flat, WeV N 15 (J155, Op 32) (1811-12) [20:23]
Konzertstück
in F minor, WeV N.17 (J282, Op 79) (1821) [16:09]
Ronald Brautigam (fortepiano)
Kölner Akademie/Michael Alexander Willens
Instrumentarium: Paul McNulty 2007, after Conrad Graf c.1819
rec. November 2018, Deutschlandfunk Kammermusiksaal, Cologne. DDD/DSD
Reviewed as 24/96 stereo download with booklet from
eclassical.com. Also available in surround sound.
BIS-2384 SACD
[56:17]
If Ronald Brautigam, the Kölner Akademie and Michael Willens have already
persuaded you with the close partnership which they have forged in their
fortepiano recordings of the Mozart keyboard concertos (BIS-2544, 12 SACDs,
and separately) and Beethoven’s (BIS-2274 2 SACDs –
Spring_2020_1A), you may be ready for Weber’s two concertos and the Konzertstück
to receive the same treatment.
The new release is in direct competition with Volume 10 of the Hyperion
Romantic Piano Concerto series, where it’s performed by Nikolai Demidenko
(piano), the Scottish Chamber Orchestra and Sir Charles Mackerras (CDA66729
–
review). Recorded in 1994, the Hyperion differs in the use of the modern piano,
albeit with an appropriately light touch. The accompaniment is directed by
Sir Charles Mackerras, who had a sure ear for music in its historical
context, albeit with modern instruments. While the new BIS comes on SACD
and in the 24-bit version which I’m reviewing (in stereo, but surround
sound is also available at the same price), the Hyperion is available only
on CD and in 16-bit download form, with pdf booklet, from
hyperion-records.co.uk.
Raymond J Walker thought the Hyperion recording ‘a breath of fresh air and
a delight to hear’. If anything, the new BIS recording is even fresher: the
slightly dry tone of the fortepiano, a copy of a Graf roughly contemporary with the
music, seems even more suited to the music than Demidenko’s modern
instrument. As with Brautigam’s Mozart and Beethoven, not only does it seem
to suit the music to a t, it’s not likely to upset all but the most
inveterate haters of the instrument – and they have the Demidenko to
console them.
This is the sort of music that doesn’t get too much of an airing – until
the Hyperion appeared, we had to rely on the likes of the elderly Vox
recordings which are still available inexpensively, most notably on a
21-hour+ download collection from Brilliant Classics for less than £10 in
lossless transfers (95300). Recordings and accompaniments are variable, but
that’s an awful lot of Romantic piano concertos for the money and there are
some treasures there.
If you thought that Romantic concertos were always deep and deedy affairs,
Weber’s First should help to disillusion you. It’s a light and airy work in
the manner of Mendelssohn’s No 1 (try Howard Shelley with London Mozart
Players on the inexpensive Chandos Introduction to Mendelssohn,
CHAN2025 –
review
– or with Concerto No 2 and Capricccio Brillant, CHAN9215, or
Brautigam, this time on an early grand piano, BIS-2264 -
review;
Autumn 2018/3). Even
Weber’s Second Concerto, supposedly influenced by Beethoven’s
Emperor, and
certainly in the same keys for the outer and inner movements, sounds fresh
and appealing, especially with the free-wheeling fortepiano solo.
The Konzertstück may not be the lightweight that its name implies,
but it, too, receives a very attractive performance. Here, again, for me
the dryish tone of the fortepiano wins the day, but outright haters are
very well served by the Hyperion alternative. The programme for the first
performance gave a Romantic scenario for each movement, but the listener
can take it or leave it without damage to the appreciation of the music. My
own inclination is to leave such extra-musical considerations out; even
works like Berlioz’s Harold in Italy and Schumann’s and
Tchaikovsky’s takes on Shelley’s Manfred are only partly helpful
in enjoying the music.
The BIS recording is very good, especially as heard in 24-bit
format, and the programme notes, like those for the Hyperion, very useful.
The latter, by Ateş Orga, may not be quite their most fulsome, but I’m
surprised that Raymond J Walker described them as merely ‘adequate’. The
Hyperion may not be available in better-than-CD quality, but it still sounds
fine, just a trifle less ‘present’, and will very well serve those who
cannot abide the fortepiano.
All in all, however, the new BIS is my version of choice for all
except the most inveterate fortepiano haters. The rather short
playing time is common to both BIS and Hyperion recordings, and on BIS it brings its
compensations for those who download from eclassical.com, where the price
is calculated per-second, just $8.44 for 16-bit and $13.50 for 24-bit,
competitive even for GB£ purchasers. If you must have more, Benjamin Frith
adds the 10-minute Polacca brillante, as arranged by Liszt, on his well-liked Naxos recording with
the RTÉ Sinfonietta (Naxos 8.550959).
Brian Wilson
Previous review:
Richard Hanlon
