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The Romantic Piano Concerto, Vol. 06 Dohn�nyi

~ Ernst von Dohnanyi (Composer), Fedor Glushchenko (Conductor), Glasgow BBC Scottish Symphony Orchestra (Orchestra), Martin Roscoe (Piano)

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Product details

Orchestra: Glasgow BBC Scottish Symphony Orchestra
Conductor: Fedor Glushchenko
Composer: Ernst von Dohnanyi
Audio CD (1 Jan 2000)
SPARS Code: DDD
Number of Discs: 1
Label: Hyperion
ASIN: B000002ZTI
Other Editions: Audio CD

Average Customer Review: 5.0 out of 5 stars See all reviews (1 customer review)

Amazon.co.uk Sales Rank: 111,445 in Music (See Bestsellers in Music)

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1. Piano Concerto No 1 In E Minor Op 5: Adagio maestoso - Allegro - Adagio

2. Piano Concerto No 1 In E Minor Op 5: Andante

3. Piano Concerto No 1 In E Minor Op 5: Vivace - Cadenza con orchestra - Vivace

4. Piano Concerto No 2 In B Minor Op 42: Allegro

5. Piano Concerto No 2 In B Minor Op 42: Adagio, poco rubato

6. Piano Concerto No 2 In B Minor Op 42: Allegro vivace

On this CD:

Concerto for Piano and Orchestra No. 1 in E minor
Composed by Ern� Dohn�nyi
Performed by BBC Scottish Symphony Orchestra
with Martin Roscoe
Conducted by Fedor Glushchenko
Concerto for Piano and Orchestra No. 2 in B minor
Composed by Ern� Dohn�nyi
Performed by BBC Scottish Symphony Orchestra
with Martin Roscoe
Conducted by Fedor Glushchenko

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5.0 out of 5 stars Tremendous Stuff!, 18 Aug 2009

By	someonewhocares2 - See all my reviews

This was one of the earliest entries in the Hyperion Romantic Piano Concerto series. It is also one of the best and should have received its five stars a long time ago. Since the sleeve notes are not up to Hyperion's usual high standard and the 45 minute First Concerto is formally complex, I will give a brief analysis.
The first movement has a 4 minute introduction which contains the seeds of much of the music to come. (The main theme of both the first movement's allegro and the finale are built on the concerto's opening motif (E,A#,B).) The exposition is richly melodic with a very Brahmsian second subject at 6 mins. At 12 mins 20 secs a chorale theme is suggested for the first time. At 16 mins 6 secs the home key is reached and the introduction returns.This leads to a beautiful coda featuring a solo violin.
The ripely romantic slow movement is built on the chorale tune and an idea first stated by the piano in the first movement's introduction. At 6 mins 30secs the two ideas are effectively combined.
The finale has almost too much music in it; the effect by the end is a little episodic. After the first theme comes a waltz-like second theme. At 5 mins 48 secs Dohnanyi begins to tie things up by bringing back the concerto's opening cadenza. The chorale soon returns and its extensive development is shared between the piano and the orchestra. The second subject is then poetically developed. A fugato built on the E A# B motif follows and the concerto culminates in a full statement of the chorale tune. If you like your piano concertos to end with a sparring match between the soloist and the orchestra, you won't be disappointed. I know of no concerto with a more exhilarating conclusion.
Pace the sleevenote writer, the Second Concerto, which Dohnanyi himself recorded, does show some advance stylistically on the first, not so much harmonically but in melody, rhythm, accentuation and orchestration. The concerto is much more tautly written than the first and there is considerable Lisztian thematic metamorphosis. The fine first movement is a sonata form structure built on strong, memorable tunes. The recapitulation is inverted. The slow movement follows without a break. It is built on two themes which are continuously developed. The finale again follows straight on. It makes extensive use of material from the first movement (notice, for example that the tune at 3 mins is a variant of the second subject from the first movement.) At 4 mins 25 secs a fugato on the main theme of the first movement begins and the concerto ends with a full statement of this tune in the brass with exciting accentuated writing from everyone else.
These are two splendid concertos which you must get to know. Roscoe is on top form and the conducting is particularly fine. The recording is notably well balanced.

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