Taubert’s A major Concerto was described by Schumann as ‘one of the best’ – he also noted the parallels between it and Mendelssohn’s Op 25. But these similarities, however, do not negate the marvellous and distinctive music contained within Taubert’s Concerto. Nearly half a century separates Taubert’s first concerto and his Piano Concerto No 2 in A major Op 189 (c1874), and the second concerto reflects developments in the areas of harmonic expansion, cyclic development, and, of course, increased virtuosity.

Rosenhain wrote two concerted for works for piano and orchestra, an the A minor Concertino Op 30 (probably written in the 1840s, though published later), and the work included on this disc, the Piano Concerto in D minor Op 73. This work is fairly conservative in its form, offering little that had not been heard before. Still, there is much gorgeous and masterful music within its traditional three-movement form.

Howard Shelley directs the Tasmanian Symphony Orchestra from the piano; a partnership that has garnered the highest praise for their previous Hyperion recordings.

Artykuł TAUBER, ROSENHEIM <br />The Romantic Piano Concerto, Vol. 51 <br />Howard Shelley <br />Tasmanian Symphony Orchestra <br />Howard Shelley pochodzi z serwisu Cleartone.

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CLASSIC FM MAGAZINE DISC OF THE MONTH
CHOC DE LA MONDE DE LA MUSIQUE

‚The Orchestra della Svizzera Italiana is finely honed and the rapport is evident, with unfailingly fine and musicianly playing‘ (Gramophone)

‚Performances of the symphonies that are ultra-clean, pleasingly joyous and straightforwardly entertaining‘ (Classic FM Magazine)

‚The orchestra is very well caught by the engineers, with ample bloom and no unnecessary or false highlighting of instruments. There is an excellent booklet by the ever-reliable Haydn expert Richard Wigmore and, best of all, Hyperion are offering the set at budget price, a little over £20.00 for four discs. I also like the fact that the works are all laid out in numbered order across the discs, unlike Bruggen and Davis, where the sequence is split up for some reason. The Davis cycle is cheaper and still an obvious rival but the sound is not as rich or detailed, and the Bruggen appears unavailable at present. It is a very crowded market but I reckon Hyperion deserve to do well with this one‘ (MusicWeb.com)

‚Sa splendide intégrale des Londoniennes … Ces interprétations dégagent une extraordinaire vitalité‘ (Le Monde de la Musique, France)

Artykuł HAYDN <br />The London Symphonies <br />Howard Shelley <br />Orchestra Della Svizzera Italiana pochodzi z serwisu Cleartone.

‚Two concertos in richly-textured performances, full of decorative appeal and romantic melody‘ (The Daily Telegraph)

‚Highly recommended‘ (Fanfare, USA)

‚Howard Shelley … in his triple role of pianist, conductor and producer, offers yet another disc of aristocratic brilliance and distinction‘ (Gramophone)

‚Shelley is one of our finest pianists and an excellent musician, and his playing has that crisp clarity which energises and highlights the music … Hardly a dull moment during this highly enjoyable disc‘ (musicweb.uk.net)
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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.
Moscheles, though born in Prague, was a truly cosmopolitan figure. He studied in Vienna and then, after a short stay in Paris, settled in London for over 20 years before returning in 1846 to Leipzig where he spent the rest of his life. His musical roots were in the Viennese classics of Mozart and Beethoven and he was one of many pianist composers (other examples being Hummel and Kalkbrenner) who bridged the gap between the classical and the Romantic period but who were forgotten when the next wave of revolutionaries (Chopin, Liszt, Schumann) arrived. His concertos were written in the 1820’s and 30’s (the last in 1838) and therefore more than half were actually written in England. The first five (including the two here recorded) follow the traditional three movement pattern whereas the last three are shorter more thematically connected works, the third is undoubtedly his most famous and it remained in the repertoire throughout the 19th century. Anticipations of Scotland is a pot-pourri of Scottish folk tunes that Moscheles wrote for performance in concerts he gave in Edinburgh in 1827.

We are delighted that Hyperion artist of old Howard Shelley has returned to us for this cycle of concertos. The wonderful understanding he has shown of Mozart and Hummel make him the ideal interpreter of this music in which he directs the Tasmanian Symphony Orchestra, of which he is a regular guest conductor, from the keyboard.

Artykuł MOSCHELES <br />Piano Concertos 2 & 3 <br />Howard Shelley <br />Tasmanian Symphony Orchestra <br />Howard Shelley pochodzi z serwisu Cleartone.