EMI's 50 Best Romantic Classics is loosely organized by regions, with the first disc devoted to French music, the second to Scandinavian and Eastern European classics, and the third to music from Italy and Spain. This arrangement is quite practical for beginners, who may appreciate the music's recognizable national styles before grasping more historical or theoretical aspects. Yet some understanding is needed of the term romantic, for not all of the music included in this collection fits within the Romantic era (roughly, the 19th century, with some overlapping of the early years of the 20th).
Portuguese virtuoso Artur Pizarro makes a welcome return to the Romantic Piano Concerto series with the outpourings of two brilliant pianist-composers. Their names may not be familiar to listeners today. The Brazilian Henrique Oswald and the Portuguese Alfredo Napoleão were born in the same year, less than three months apart, when Schumann, Brahms and Liszt were alive and Chopin recently deceased. Both were of mixed European heritage: Oswald with a Swiss-German father and Italian mother, Napoleão with an Italian father and Portuguese mother. Both were child prodigies who became widely travelled concert pianists, pedagogues and composers. In 1868 Oswald gave his ‘farewell recital’ and left Rio de Janeiro to study in Europe; Napoleão went to Brazil.
Hyperion’s Record of the Month for April is the fourth volume in the burgeoning ‘Romantic Violin Concerto’ series. The central work on the disc is Moritz Moszkowski’s C major Violin Concerto, a full-blooded Romantic work which demands exceptional virtuosity. An increasing number of recordings, many on the Hyperion label, of this composer’s music have done much to lift his reputation beyond that of the ‘trifling miniaturist’, and the Ballade in G minor amply demonstrates how even a small canvas can aspire to advanced heights of pyrotechnic wizardry.
When d’Albert appeared in 1881 at one of Hans Richter’s concerts in London he played his own Piano Concerto in A, but the work was never published and has not survived. However, from a review in The Musical Times of November 1881 we can reasonably deduce that the Concerto had the traditional three movements. The reviewer stated that it was ‘uncompromising in its pretensions to rank with the chief of its kind; largely developed, ambitious in style and character, and rigidly observant of classical form, while redundant in matter’.
Despite rumors some months ago that the RCOA series might be discontinued (fortunately unfounded), here we have Volume III, a 14-CD set that contains much of interest, but surely—for this collector—doesn't live up to its potential. For me, ideally that would concist of some of the outstanding performances of great symphonic music played by this magnificent orchestra, recorded in the extraordinary acoustics of the Concertgebouw with the usual Radio Nederland sonic expertise. During the decade represented in this set (1960-1970) the Concertgebouw Orchestra's programming often emphasized contemporary music and that surely is reflected in this album. We have well over five hours of music by Martin, Varèse, Berg, Webern, Henze, Lutoslawski, Nono and Dallapiccola as well as Dutch composers Ketting, Escher, and Vermeulen, and Polish composer Grazyna Bacewicz's Music for Strings, Trumpets and Percussion, an 18-minute three-movement work of imagination and vivid scoring.
This Da Vinci Classics album comprises some of the most famous and beloved masterpieces not only among Chopin’s works, but also in the entire piano literature. True, piano literature without Chopin is hardly imaginable; but Chopin without his Ballades, his Scherzos and his Sonatas would not be Chopin. The programme is composed by four shorter works, each conceived individually while also being one in a set of four similar pieces, and by one larger creation, in the most important form created in Western music, i.e. that of the Sonata.
Say what you will, but few things are as romantic as dinner dates at home with home-cooked meals. The planning is easy, all you have to do is ask them over for dinner, and they’ll say yes. The issues start with the actual cooking bit. What are you supposed to make? Are they expecting a three-course meal, or can you make boxed macaroni and cheese? …