Romantic

This unique collection features a representative selection of early Romantic piano quintets, ranging from the astronomically popular Trout Quintet by Schubert to lesser known works from Hummel, Ries, Cramer, Limmer, Dussek, and Onslow.

Antonin Dvorák's Piano Quartet No. 2 is one of the greatest chamber works of the 19th century (as are many of Dvorák's chamber compositions). Written in 1889 at the request of his publisher Simrock, it is a big, bold work filled with the Czech master's trademark melodic fecundity, harmonic richness, and rhythmic vitality. The first movement is a soaring, outdoor allegro with an assertively optimistic main theme accented by Czech contours and Dvorák's love of mixing major and minor modes. The Lento movement's wistful main theme is played with a perfect mixture of passion and poise by cellist Yo-Yo Ma. The music alternates between passages of drama and delicacy in this, one of Dvorák's finest slow movements in any medium. The Scherzo's stately waltz is contrasted by a lively, up-tempo Czech country dance. The finale is a high-stepping, high-spirited allegro with a strong rhythmic pulse that relaxes for the beautifully lyrical second subject.

This is the fourth Romantic Piano Concerto album from Simon Callaghan, and that combination of talents which made his first three so successful—not least a flair for exploring the neglected byways of the Romantic repertoire, and the technique and musicianship to do them justice—proves just as compelling here.

The common thread—as so often in The Romantic Piano Concerto series—is Liszt, in whose Weimar circle both composer-pianists featured here moved. Both concertos are pleasingly substantial, and the typically demanding piano writing is powerfully dispatched by Emmanuel Despax.

Volume 72 of our Romantic Piano Concerto series comes to the rescue of yet another neglected figure with three first recordings courtesy of Howard Shelley and his Tasmanian forces. Composer, pianist, writer and educator (he was an early Principal of the Royal Academy of Music), London-born Cipriani Potter was encouraged by Beethoven and admired by Wagner.

The first recording of Moritz Moszkowski’s long-lost—and eagerly awaited—early Piano Concerto makes for a particularly important addition to the Romantic Piano Concerto series. The coupling is another rarity (and recorded premiere): the Russian Rhapsody by Adolf Schulz-Evler.

A total of 63 tracks, over 11 hours of recording. Recordings with such renowned conductors as Brahms: No. 3 (Rattle), Schumann: No. 4 (Harnoncourt), Saint-Saëns: No. 3 (Mehta), Dvorak: From the New World (Kempe), Brahms: No. 2 (Keilbert), Schumann: No. 3 (Tenstedt), Mendelssohn: No. 2 (Sawallisch), Bruckner: No. 7 (Barenboim), etc. Recorded between 1951 and 2008.

There is, of course, no shortage of Romantic-era violin concertos in the instrument's standard repertoire. None of them found with any regularity on the concert stage, however, hail from Denmark. This DaCapo album demonstrates that there are indeed examples that come to us from the Scandinavian country, and even that some of them are inexplicably excluded from the modern canon.

The first recording of Moritz Moszkowski’s long-lost—and eagerly awaited—early Piano Concerto makes for a particularly important addition to the Romantic Piano Concerto series. The coupling is another rarity (and recorded premiere): the Russian Rhapsody by Adolf Schulz-Evler.

The common thread—as so often in The Romantic Piano Concerto series—is Liszt, in whose Weimar circle both composer-pianists featured here moved. Both concertos are pleasingly substantial, and the typically demanding piano writing is powerfully dispatched by Emmanuel Despax.