The Romantic

Emma Kirkby, doyenne of the Early Music scene, here shows that she's just as comfortable in music of a more recent vintage. Amy Beach was a woman ahead of her time, performing as solo pianist with the Boston Symphony Orchestra by the age of 18. The same year (1885), she married Henry Beach and, no longer able to perform publicly (it would have gone against her social status), she instead settled down to composing. And delightful stuff it is, too, as Kirkby and friends demonstrate in this charming recital. A number of the songs add violin, cello, or both to the piano and voice combination. "Ecstasy," for instance, has a most effective violin part that is an ideal foil to the purity of Kirkby's voice. Other highlights include the Schumannesque Browning Songs and the amiable Shakespeare Songs (the last of which, "Fairy Lullaby," is irresistible). The final item here, "Elle et moi," is an upbeat little number that suits Kirkby's lithe soprano to perfection. Occasionally, in some of the more lushly textured songs, such as "A Mirage" and "Stella Viatoris," perhaps a fuller voice would have been preferable, but then sample "Chanson d'amour" (written when Beach was only 21 and with a wonderful cello part in addition to the piano) and try to imagine it being better sung. The purely instrumental items are played with unfailing sensitivity and elegance. The Romance is straight out of the salon, while the much later Piano Trio (though actually based on early material) packs plenty of emotion and variety into its 14 minutes. The recording is exemplary, as are the concise notes and texts and translations.

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.

With this 29th volume in the Romantic Piano Concerto series we commence a cycle of three CDs that we hope will include all eight of Moscheles' piano concertos. It also marks the start of our exploration of concertos from the earlier part of the 19th century, which we have so far rather neglected.

Howard Shelley directs the Tasmanian Symphony Orchestra from the piano in this latest volume of The Romantic Piano Concerto series. As ever, they perform unknown music with consummate style and deep understanding, making the best possible case for the works. We have reached Volume 63 and the works of French composer Benjamin Godard, a figure who is almost totally forgotten today. He is described by Jeremy Nicholas in his booklet note as ‘a composer who combines the sentimental melodic appeal of Massenet with the fecundity and technical facility of Saint-Saëns’.

Continuing her inspiring series of discs exploring the solo piano repertory of the Polish Romantic, Xaver Scharwenka, Seta Tanyel here turns her attention to two of his four piano concertos. These unashamedly appealing works should by no means be judged by their relative unfamiliarty; they are among the most impressive of all the neglected concertos championed in our series, as Stephen Hough’s Gramophone Award winning recording of the 4th concerto (CDA66790) has shown. In the capable hands of Tanyel, the 2nd and 3rd concertos are rich with the harmonic poise of Schumann, the melodic coquettishness of Chopin and even the passion of Rachmaninov; a disc as enlightening as it is thrilling.

Anton Stepanovich Arensky and Sergei Eduardovich Bortkiewicz are hardly household names. Arensky’s delicious Piano Trio in D minor continues to keep its place on the fringes of the chamber repertoire, and the Waltz movement from his Suite for two pianos receives an occasional outing; otherwise nothing. Who has even heard of Bortkiewicz other than aficionados of the piano’s dustier repertoire?

The 'Romantic Piano Concerto' reaches its quarter century with two concertos that suffer their neglect with the least justification; indeed it's hard to see why MacDowell's Second in particular isn't up there with the Grieg as one of the most-loved nineteenth-century concertos.

Over the ten years that the Romantic Piano Concerto has been running one of the projects most often requested by the many fans of the series has been a recording of the complete Lyapunov works for piano and orchestra. Well finally here it is!

This recording is the companion to Donohoe and Litton's earlier recording of Litolff's Concerto Symphoniques 2 & 4 (CDA66889) and completes our survey of the composer's works for piano and orchestra (Litolff's first concerto was never published and is lost).

For Volume 24 of 'The Romantic Piano Concerto' Hyperion went to Portugal to celebrate one of the country's greatest musical sons. José Vianna da Motta, if he is remembered at all, is primarily known as a very fine pianist. He was one of Liszt's last pupils, became a friend of Busoni, and left a small body of very impressive 78rpm recordings. After many years based in Berlin he returned to his country of birth as director of the Lisbon conservatory and became central to the musical life of the country. And like many other performers of the day, he also composed.