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The Romantic Piano Concerto, Vol. 22 Busoni
 
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The Romantic Piano Concerto, Vol. 22 Busoni

~ Ferruccio Busoni (Composer), Mark Elder (Conductor), Marc-André Hamelin (Piano)
4.0 out of 5 stars  See all reviews (3 customer reviews)
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Product details

  • Conductor: Mark Elder
  • Composer: Ferruccio Busoni
  • Audio CD (1 Jan 2000)
  • SPARS Code: DDD
  • Number of Discs: 1
  • Label: Hyperion
  • ASIN: B000038I6D
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (3 customer reviews)
  • Amazon.co.uk Sales Rank: 53,335 in Music (See Bestsellers in Music)

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1. I. Prologo E Introito (Allegro, Dolce E Solenne)
2. II. Pezzo Giocoso (Vivacemente, Ma Senza Fretta)
3. III. Pezzo Serioso: Intro (Andante Sostenuto, Pensoso)
4. III. Pezzo Serioso: Prima Pars (Andante, Quasi Adagio)
5. III. Pezzo Serioso: Altera Pars (Sommessamente)
6. III. Pezzo Serioso: Ultima Pars (A Tempo)
7. IV. All' Italiana (Tarantella) (Vivace; In Un Tempo)
8. V. Cantico (Largamente)
On this CD:
  1. Concerto for Piano and Orchestra
    Composed by Ferruccio Busoni
    Performed by City of Birmingham Symphony Orchestra Chorus, City of Birmingham Symphony Orchestra
    with Marc-André Hamelin
    Conducted by Mark Elder

Product Description

Amazon.co.uk Review

Back when the film Shine was popular, Rachmaninoff's Third Piano Concerto became all the rage as a work making nearly suicidal demands of its soloist. But one mountain of challenges to the virtuoso you're not likely to encounter in live performance is the Piano Concerto of Ferruccio Busoni. Its dimensions are Guinness Book material: Lasting over 70 minutes and cast in five epic movements, it not only uses a gargantuan orchestra but calls for an invisible male chorus singing a mystical hymn of stunning beauty in the finale. But the concerto isn't just about grandiosity. Its complex, symbolic architecture gives the work a searching intensity more akin to the trajectory of a Mahler symphony. In his preoccupation with synthesizing elements from North and South, incorporating contrapuntal complexity and flowing Italianate lyricism, introspective gloom and fevered excitement, Busoni sounds something like a character out of Thomas Mann. Canadian pianist Marc-Andre Hamelin --who has made a specialty of neglected masterpieces--performs with a tremendous range of expression and theatrical flair, clearly holding his own against the earlier celebrated account of John Ogdon. The sui generis nature of the piece requires an unusually high degree of sensitive interaction from the conductor. Mark Elder shows a magnificent grasp of Busoni's architectonic sensibility and his sculpting of musical space, as well as of the score's kaleidoscopic orchestration. Busoni may be bidding farewell to an entire tradition here, but it's his over-the-top originality that is likely to captivate you. --Thomas May END

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Customer Reviews

3 Reviews
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16 of 19 people found the following review helpful:
5.0 out of 5 stars Sensational account of a notorious finger-twister, 5 Feb 2000
The massive piano concerto by Ferruccio Busoni has not had many champions. Five massive movements, a chorus, technical challenges aplenty for all involved...for these reasons and more if it has not languished in undeserved obscurity then nor has it ever been a repetoire staple choice. This type of work lives or dies on the advocacy of its performers. The benchmark recording is the justly-celebrated John Ogdon performance from thirty years ago with the RPO and Daniell Revenaugh. Over the years to my ears this has only been rivalled by Garrick Ohlsson and the Cleveland Orchestra with von Dohnanyi. Well now we have a performance which trumps both of these. Whether in the gyrations and fulminations of the fourth movement, the introspection of the third, or the restraint of the fifth, there is a palpable sense of occasion and belief. The order of pianism on display here simply silences criticism, as it usuallu does from this artist. The orchestral and choral contributions are excellent, and the recording sumptuous. Enjoy!
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2 of 3 people found the following review helpful:
5.0 out of 5 stars A worthy successor to Ogden's legacy, 22 Dec 2008
By Dr. S. E. Mitchell (London) - See all my reviews
(REAL NAME)   
This is a monster work. 5 movements, 70 minutes and one of only two piano concertos I know requiring a choir! It is a veritable Mount Olympus to climb for the pianist, which is perhaps why it remains off the map in terms of live performance, and nearly so in terms of discography. Ogden put it on the pianistic map in 1967 with Daniel Revenaugh (although Noel Mewton Wood recorded it in 1948. This was released in 2003 and is probably one for the Busoni enthusiast on account of recording quality and Beecham's manifest lack of interest).
Hamelin's reading is breathtaking. In his hands the second movement - which can relegated to a simple filler between the broad allegro opening and the colossal third movement takes on, and almost pre-figures the fourth movement. The pezzo serioso third movement is genuinely monumental, and the next, while almost unbelievably virtuosic, is not simply that - there being an untercurrent of risus sardonicus reminiscent of Ravel's La Valse premiered some 16 years later.
The broad finale brings the work full circle with restatement of several themes, most notably from the first movement, and there is a real sense of the completion of a journey at the end. This is an outstanding reading and unequivocally recommended.
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1 of 9 people found the following review helpful:
2.0 out of 5 stars Dull & Uninspired Work played with cool pianism, 4 Sep 2007
By Scriabinmahler (Cambridge UK) - See all my reviews
(TOP 1000 REVIEWER)   

I bought this cd excited by ecstatic reviews like "as if Mahler wrote piano concerto" or "super human virtuoso." It turned out to be a disappointment. The work is one huge mass of uninspired themes and developments. It is an offence to Mahler to compare this dull piece to his great creations.

Hamelin's playing has amazing precision and ease, but somehow lacks fire and grandeur of the Russian masters. Critics are lavish in praising Hamelin's 'super-human' technique, but listen to young Rubinstein playing Villa-Lobos or Richter's early recordings of Prokofiev or Liszt concertos (Urania). Hamelin's virtuosity would seem tame in comparison!
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