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My copy has just arrived and I will make some observations after an initial hearing,mainly concerning the Grande Sinfonie/sextet. I feel the work as a whole is probably more suitable in its chamber music guise - although one can only imagine how the (presumably) original orchestral version would come across. I immediately was reminded of  the wonderful 3rd Sextet (Op90) of Henri Bertini, which was published in 1839, and therefore more than 20 years earlier than Katski's work. The similarities are especially evident in the outer movements, with both works having memorable thematic material. The Katski does seem to hark back to Bertini's work in style, especially in the keyboard writing, which could easily be by the older composer, with shades of Kalkbrenner lurking in the background! (There is mention in the liner notes of Katski meeting with von Bulow and Kalkbrenner in Berlin during the 1850's, but this is incorrect as Kalkbrenner died in Paris in 1849).  In any case, this serves as a timely reminder that Bertini wrote SIX such sextets, and the remaining five are definitely well worth investigating!

The Piano Trio is again full-on, with much relentless virtuosic piano writing throughout - perhaps a tad too much at times, but immensely enjoyable nevertheless. Altogether, a splendid release of enjoyable music, guaranteed to please, and superbly performed!

More delights from Alfredo d'Ambrosio here on this new Tactus release of his chamber music - all first recordings as far as I am aware! As well as the String Quartet Op42 and Suite for String Quintet Op8, there are also four exquisite encores of a more "palm court" persuasion! https://www.prestomusic.com/classical/products/9513202--d-ambrosio-quartetti-e-quintetti-d-archi

Yes, Alan, we surely can! The trouble as I see it with many concert promnoters etc., is a distinct lack of knowledge, with such ignorance spreading also to the higher echelons of those responsible for promoting our "classical music" (for want of a better expression!!) heritage. This also extends to our centres of musical education - colleges, academies etc. Over many years, I have come across this on so many occasions, and it is most disappointing.

John Boyer makes mention in his last post about a conductor's fondness for Max Reger - not a name I would put at the top of any list for introducing to an unsuspecting or reluctant public, so real careful consideration must be given as to how to initiate a steady, ongoing introduction of forgotten music, and unfortunately for Reger fans, they will have to perhaps bide their time a little! As mentioned, real careful consideration has to be given to what would be ideal repertoire to make an immediate impact, and casting aside any personal preferences, any of the Scharwenka concerti would be well worthwhile! Then we would have to move on to provide a well-known popular symphony, known to be a crowd-pleaser, and perhaps an overture to boot to further soften the blow that the Scharwenka/Moszkowski/Raff would undoubtedly inflict on the audience! 

With regards to the concerns of "risking" empty seats on behalf of the promoters, the BBC Promenade Concerts surely provide us with a special case in point - almost unique in fact, which is why I mentioned this in my previous post! To programme such works as the Scharwenka concerti on such a universally acknowledged platform would help their cause immensely, and a carefully chosen and balanced programme (obviously not including some daft commission) may be well worth trying out, as the Proms concerts seem to sell themselves, for what they are. 

I agree totally Alan! It always surprises and annoys me intensely when I see Scharwenka's 4 concerti compared unfavourably with those of Rachmaninov, usually by individuals who probably have little or no working knowledge of Scharwenka's compositional output, with its strong Germanic bias, and Polish inflection!. Putting things quite simply, the two composers are quite different in style, and it is perhaps unfortunate that only a relatively short period of time separates the two composers' concerti.

Scharwenka's 4 concerti constitutes a strong group, any one of which would surely go down well with an unsuspecting audience. It is perhaps more than relevant to mention this at the moment during the current Proms season, with its monotonous, repetetive, unimaginative programming, at times reinforced by a recurring institutionalised "political correctness"! I know similar thoughts have been echoed here previously, but hearing the sheer enthusiasm emanating from the performance highlighted in this thread really emphasises the need to get such music "out there", by means of public performance!

Terry, I was also very tempted to mention Bortkiewicz as a perfect alternative to the Grieg! However, I went with Kosenko with its extended playing time in order to substitute the Grieg PLUS the inevitable contemporary dross!

On a more serious note though, I really question as to whether any of those who plan these programmes have a real knowledge of the what music is out there, especially as one moves away from the usual well-trodden paths. I honestly suspect the sad answer is a resounding negative!

I feel compelled to offer some thoughts here. Although I admit not hearing the entire concert, the opening Sibelius Finlandia in its choral guise made a welcome change from its usual orchestral only version, and the subsequent Snöfrid was more than acceptable......... Then, what else? The Grieg gets its 95th Proms performance - is this anything for the BBC to be proud to announce? Then an anonymous Ukrainian contemporary offering which left me stone cold. If the BBC wanted to promote a Ukrainian presence, WHY IN HEAVEN'S NAME COULD WE HAVE NOT BEEN GIVEN SOMETHING FAR MORE FITTING, WITH A MUCH HIGHER PROFILE! My suggestion - scrap the Grieg and this dreary contemporary contribution, and substitute with Viktor Kosenko's wonderful colourful Piano Concerto - an offering well worthy representing the best of Ukrainian music, as well as a timely reminder that this work is still awaiting a commercial recording!! Then we come to the Britten - take it or leave it - as far as I'm concerned, so I left it!

Gareth, I do have a complete set of parts - including both piano parts - for Kalkbrenner's concerto for 2 pianos, which is Op125. I have had these for some time and was trying to interest Mike Spring in getting the work recorded. However, he seemed quite reticent about doing it, and the first obstacle was to find an appropriate coupling! Also the logistics of having two pianos prepared for the sessions seemed to be quite problematic, and would have incurred considerable extra expense. Then, of course, there is the problem of finding a piano duo willing to take it on.......

Perhaps things may be different now, and i would be only to happy to make the scores available if required. As to coupling, and knowing that Hyperion have in the past been flexible in allowing non-orchestral works to be used as fillers in the series, there is a Grand Duo Op128 for 2 pianos which could be used, but a third work would almost certainly need to be found as Op125 + Op128 would probably give rather short measure! As far as i am aware, these are the only Kalkbrenner works for 2 pianos, rather than one piano, four hands, of which there are quite a few!

Although the Tellefsen concertos have been recorded before (Simax - with Steen-Nøkleberg), I'm sure Howard will once again do what he does so well with these - and certainly breathe new life into them! The added bonus of the Kalkbrenner "curio", although not for piano and orchestra as such, will surely be the icing on the cake! I do know that although there are still several other Kalkbrenner works for piano and orchestra as yet to be recorded, it is again the availablity of orchestral parts that is the ever-present problem. I will take the opportunity here though, in case anyone out there is interested, to mention that I have recently acquired a full set of parts - including solo, for his Op66 "Gage d'Amitié", Introduction & Rondo Brillant (dedicated to Moscheles)! In any case, I'm really looking forward to this release...... 

The Grand Duo is without doubt a substantial work (72 pages) - in 4 movements with the third being a Theme and variations, so I imagine each variation has its own track, hence a total of 9 in all! I would be very surprised though if the work exceeded 30 minutes playing time. I will just have to wait until the CD arrives......

I was delighted to come across this new release:https://www.jpc.de/jpcng/classic/detail/-/art/leopoldine-blahetka-grand-duo-fis-moll-op-47-fuer-klavier-4-haendig/hnum/11526612. Although it seems a little strange that it appears to be the only work  on the CD, and therefore will be subject to the usual criticism of "short measure", the work itself is certainly up there with the best of the more serious sonata-type works for piano duet which appeared during the earlier part of the 19th century, with such illustrious stablemates as those by Moscheles, Onslow, Ries, Czerny, Kalkbrenner amongst others. The opening movement also brings Pixis to mind, with shades of his 6th piano trio, also in the same key of f sharp minor (the original of the infamous Turnabout "double concerto" hoax); and, coincidentally, both Pixis' and Blahetka's works date from around 1839, and both were dedicated to Clara Wieck (Schumann)!
I suppose it would have been a good idea to have filled out the disc with one of Kalkbrenner's two duet sonatas - preferably the second (Op79/80) which appeared in the mid 1820's - as Blahetka studied with him!
However, I await this Cd with eager anticipation!

Definitely interesting. If these piano preludes are cut from the same cloth as his wonderful cello sonata, we are in for a treat!

As a life-long admirer of S.C-T's music, this is a welcome release, and goes immediately on my "must-buy" list!

I am interested in the reference to the Concertino for 2 pianos and orchestra Op29 in pcc's post. I have an early Schott edition (plate no.4874) of a work with this same opus number - piano solo part and instrumental parts for a quartet accompaniment version. As is documented in Nicholas Temperley's notes for the Hyperion CDA67720 (Benedict/Macfarren), I can confirm that my edition consists of what was eventually used as the 1st movement of Benedict's Op89 concerto in E flat, albeit with some fairly minor alterations! I also presume that Giles' listing's reference to a Concertino Op19 is perhaps a mere typing error in respect of the opus number. Therefore it would seem that perhaps Benedict made an arrangement of what was published as his Op29 for TWO pianos and orchestra - presumably not published and at present to be considered lost! Unless, of course, there is yet ANOTHER work to be located, hopefully?

This world première recording from Naxos of Zelenski's opera "Janek" should be well worth having, and although opera is not my speciality by any stretch of the imagination, Zelenski's music always has much to offer! Therefore, a "must-buy" for me! https://www.jpc.de/jpcng/classic/detail/-/art/janek/hnum/11473660