No use crying over spilled milk, I know, but the last postings in the RPC 50 thread gave me an idea. Although most of us love Hyperion's series, after 50 volumes there have been some strange (not to say dissapointing) decisions. I'm not talking about the recordings, or their musical value, but about the outlook/organisation of the series. I reckon everyone, like with vol. 50, has raised their eyebrows once or twice regarding specific cds, as well as thought of better ideas. A fantasy topic, I hope you don't mind!
Firstly, I am a staunch supporter of completeness (in the CPO philosophy), so I regret the exclusion of pieces that not necessarily constitute as concertos. Either way, the line between concerto & Konzertstück is very thin, especially in the late-romantic repertoire - the Vianna da Motta cd is a case in point. I would like to see one or two "bonus" discs released (numbered 1a & b, or something like that?), containing some (or preferably all) missing pieces. My comments on the series:
Vol. 1: I love it, but I miss the Paderewski Polish Fantasy
Vol. 3: ridiculous. Bad, uninspired and way to serious playing of Mendelssohn pieces that should be in the definition of the word "fun". But, if they're going down this road anyway, it would be nice to see other romantic concertos for 2 pianos & orchestra
Vol. 4: another one of my favourites, but a complementary Bortkiewicz disc with the rest of his piano & orchestra works would be nice
Vol. 6: can there ever be enough recordings of Dohnányi's Nursery Variations? They'd be perfect for a bonus disc!
Vol. 8: the Medtner quintet is one of my favourite pieces of chamber music, but there have been better recordings; anyway, it's a quintet. What happened to the concert pieces?
Vol. 11: another one of my favourites; owning the 2nd concerto on Danacord, I understand why they didn't go for the obvious coupling - I'd still like to see it, though!
Vol. 16: the sheer fun and playfulness of Schelling's suite made me hope for a recording of his Impressions of an Artist's Life...
Vol. 18: please, Hyperion, give us the Castelli Romani!!!
Vol. 20: don't we miss 2 Konzertstücke, or does anyone know of another recording of those?
Vol. 23: Holbrooke's 2nd concerto...
Vols. 35 & 40: why??? ;D ;D ;D
Vol. 38: what's with the other Rubinsteins? What I have on Marco Polo I love, especially the 5th
Vol. 43: nice, since Lyrita already gave us Sterndale Bennett's other concertos. But does that mean Hyperion shouldn't do them? I mean, if they release Tchaikowsky...
Vol. 46: what I have on Dutton is amazing stuff, but I guess that's a reason for Hyperion not to bother with it anymore...
Of course, we're still waiting for rediscovieries of the 0th D'Albert concert, the 1st Litolff and the orchestral parts of Moscheles 8th. But wouldn't we love to have Hyperion record those beautiful variation sets for piano & orchestra by Moscheles?
Just to be clear: this was no Hyperion-bashing! I love the series (and learned from my parents to be satisfied with what we have). The price collectors pay (apart from those 13 quid) is that they have to know the series by heart, because otherwise they'd have a hard time finding specific items in their collection - vol. 11 near the cds of Scharwenka orchestral works or Sauer's piano music? - and of course that's a small price!
But, in conclusion, some complementary recordings of the stuff we (they) missed the first time around would be nice, wouldn't they? In any case think most costumers to be rather loyal to the series, so I can't imagine it being a financial risk.
Quote from: Kriton on Sunday 04 April 2010, 16:51, so I regret the exclusion of pieces that not necessarily constitute as concertos.
It's weird, because they certainly ARE complete in the Saint-Saens 2CD set, yet in the Tchaikovsky they are missing the Andante & Finale (granted it's a completion by Tanayev, but it certainly FITS the series).
Quote from: Kriton on Sunday 04 April 2010, 16:51
Vol. 8: the Medtner quintet is one of my favourite pieces of chamber music, but there have been better recordings; anyway, it's a quintet. What happened to the concert pieces?
What do you mean by that? Medtner, as far as I know (and listed on http://www.medtner.org.uk/works.html) only wrote the three concerti, and no other pieces with orchestra. Are you maybe thinking of Alkan or something?
Quote from: TerraEpon on Sunday 04 April 2010, 20:47
It's weird, because they certainly ARE complete in the Saint-Saens 2CD set, yet in the Tchaikovsky they are missing the Andante & Finale (granted it's a completion by Tanayev, but it certainly FITS the series).
I know, that's what I meant; sometimes it seems just a bit "random" what they're doing.
Quote
Medtner, as far as I know (and listed on http://www.medtner.org.uk/works.html) only wrote the three concerti, and no other pieces with orchestra. Are you maybe thinking of Alkan or something?
I've looked it up again, because I remember reading something about them once; it appears that both concert pieces by Medtner (D major and F minor) have not been completed by the composer, but I don't know how much there is - too bad Taneyev is not around anymore to complete them... :P
As far as some of those works you mention, they are confirmed lost, at least according to posts from the old Raff Forum. The Litolff 1st Concerto Symphonique is confirmed as lost in the Allied bombing of Leipzig, which destroyed Litolff's Verlag. Unless some extant manuscript or published copy is found (which is unlikely) it can be considered a total loss. Likewise some of the other concertos mentioned were probably destroyed in a similar fashion. I, for one, would certainly like to know the whereabouts of the 1st Moszkowski PC, as well as his two symphonies. One would think that they would be somewhere in Paris, but where to look? Some manuscripts may have been lost in the Blitzkreig, or in the buzz bombing of London, too. And as far as Konzertstucke are concerned, there are plenty in the RPC series. I believe that the Concert Allegro of Blumenfeld, the Weber Konzertstuck, the Goedicke Konzertstuck and a few other shorter works are tucked away here and there in the series. The Mendelssohn solo piano concerto CD contained his complete works for piano and (full) orchestra, for example, including some underperformed works. And believe it or not Herz was important once, and no survey of Romantic piano concertos would be complete without him. Believe it or not! ;D
And don't forget the 8th Moschles concerto...
I do wish they would record the Godard Piano concertos. Is their any plans by hyperion to record them anytime ? is it in the pipeline?????????
JimL;
The Allied bombings of Leipzig were quite extensive. Not only did they destroy the Litoff Verlag but they also destroyed Breitkopf and Hartel too. All my queries that I addressed to the director of the archives at Breitkopf and Hartel were answered the same way: Lost in the fire!!
Regarding reply 2, I believe the exclusion of the Taneyev completions was the performer's call rather than the producer's.
Then why include the execrable Siloti perversion of the 2nd movement of Op. 44?
I agree. What on earth we want 3 different versions of the 2nd movt. of No. 2 for I can't imagine.
If Mompou had completed the third concerto, this might be a very different discussion!
Seriously, we're talking about (relatively) infrequently played Tchaikovsky concertos rather than, say, the V-1. So I don't think it's necessarily perverse for a producer who wants to stay in the black to coddle a performer who is (a) a draw and (b) an adventurous and gifted musician, even though said musician may not always be at their very best when performing Tchaikovsky.
That being said, my comment was derived from a discussion with Mr. Hough. I don't speak for him, obviously, but I think he feels the third concerto draft didn't have the benefit of Tchaikovsky's full attention.
That is, of course, if the draw of Mr. Hough's presence might make enough of a difference to separate his recording of the Tchaikovsky concertos from the umpteen alternatives on the market – and I don't think it does. Even so, the classical music business has changed dramatically over the past years, and artist's reputations are far less important than they used to be, particularly if the artists aren't 'superstars'. And although Stephen Hough is a fantastic pianist, I don't think he is in that category.
The other point is about the character of the series. The Romantic Piano Concerto series is known for releasing previously unknown or unfamiliar repertory. In that sense, Hyperion functions an explorer of sorts on behalf of its customers. Such a role breeds loyalty, but it is loyalty of a fragile nature and you need to be aware of that. I know that other labels (cpo, Sterling) are very aware of their responsibility towards their customers, and Hyperion has been most of the time.
But here I feel they missed the mark. The repertory isn't interesting enough to the series' core customer base, and I don't think the performer is interesting enough (publicity-wise, NOT musically) to make much of a difference vis-a-vis the competition.
Interestingly (or perhaps not!), I've just bought a CD of the original versions of the Tchaikovsky concerti on the Bridge label and played by Jerome Lowenthal. I've not listened to it yet but I wonder if Hough had recorded these versions, the reaction here would have been more favourable?
Quote from: Ilja on Friday 16 April 2010, 14:57
But here I feel they missed the mark. The repertory isn't interesting enough to the series' core customer base, and I don't think the performer is interesting enough (publicity-wise, NOT musically) to make much of a difference vis-a-vis the competition.
I agree with this and would add that I actually felt let down by it as a customer, especially as it was the half century issue and I was expecting something pretty incredible and unrecorded.
It was almost as if Hyperion were saying to me "thanks for buying the other 49, here is your reward".
It might well be a commercial winner and I hope it is so that it could fund other projects, but i will not buy it myself and there will remain a gap on my shelf.
Thal
Well the next release will be Rosenhain and Taubert (both PCs), so that should satisfy most people on this forum.
Can't wait myself!
I will be eternally grateful to Hyperion for allowing me to hear excellent recordings of concertante works for piano and orchestra by Holbrooke, Wood, Bowen, Mackenzie, Tovey, Parry, Stanford, Sterndale Bennett, Bache, Benedict, Walter Macfarren, Somervell and Cowen (forthcoming on volume 54). In addition my favourites amongst the non-British discs are the Busoni, Scharwenka and Litolff recordings.
There seems to be some carping at Hyperion for not making absolutely every disc in the series a celebration of obscurity (Saint-Saens, Tchaikovsky, Mendelssohn, Weber, etc) and some criticism of Stephen Hough in his choice of programming for the Tchaikovsky release. Perhaps it would be more reasonable to look at this volume (50) as a pretty fair 'reward' for his transcendental performances of Sauer and Scharwenka (volume 11). When Hyperion are doing such a great job of making modern recordings which do include far-distant peripheries of the repertoire, involving laborious research which often entails the expense of new scores and parts being made, and presenting them in a very attractively-packaged on-going series, it does appear that they are coming in for some pretty unreasonable criticism. By all means, we should lobby and ask for certain composers to be included (I would love to see a disc of Cipriani Potter, strangely enough), but I wouldn't begrudge such an enterprising recording company or such a first-class soloist the occasional 'indulgence'.
I don't think anyone intends any criticism of Hyperion. After all, if some strange bug destroyed all Hyperion discs overnight then we'd all be in a state of deep lament. We owe Hyperion so very much!
The point is that a different RPC Volume 50 could have been released that would have been met with whoops of delight, broad grins, or jubilation on the part of someone advocating that we'd benefit from listening to music from a hitherto neglected composer. Instead there is a slight puzzlement: the Tchaikovsky release is doubtless good enough as a set of recordings of Tchaikovsky, but why has Hyperion done it? Is there strong musical (or commercial) point to it? Hardly.
So, an opportunity missed. And Hyperion is in danger of missing huge opportunities with both the Romantic Cello and Violin Concertos series unless those projects really get off the ground. Just think what could be done there!
Peter
Peter, I can only echo your words!
But I can hardly wait for the release of Vol 51.
Mike Spring has had some difficulty in finding violinists prepared to explore the byways of the VC repertoire. However, he tells me that he thinks he has solved this problem now and we did talk about both the Litolff "Eroica" Concerto Symphonique and Philip Scharwenka's VC, both of which he would like to include in the series.
Quote from: Gareth Vaughan on Sunday 18 April 2010, 12:03
Mike Spring has had some difficulty in finding violinists prepared to explore the byways of the VC repertoire. However, he tells me that he thinks he has solved this problem now...
Solved the problem now?! Cheese 'n' apples!
Perlman did a couple of Vieuxtemps concertos (actually the same ones that they're releasing on their next issue) when they were still fringe repertoire! How long ago did Milstein do the Goldmark? Hahn has a liking for the Spohr 8th! Seems to me that more violinists have a willingness to include a couple of rarities in their repertoires than there are pianists who would like to learn unsung concertos!
Quote from: JimL on Sunday 18 April 2010, 13:47
Seems to me that more violinists have a willingness to include a couple of rarities in their repertoires than there are pianists who would like to learn unsung concertos!
To quote Mike Spring in 'Fanfare' (29th March 2010):
"With the BBC Scottish (with whom we've done the majority of the recordings), they have quite frequently had a concert beforehand. We usually have two days of rehearsal before we start recording and then a concert in which one of the concertos (maybe not both of them) would be played. It's actually happening less now, as the orchestra has moved to City Hall and they don't do studio concerts there in the way they used to at the BBC. We're more likely to get concerts after the event. Generally the pianists will be delighted to get chances to play the works. Piers has played the Moszkowski quite a lot over the last 20 years since he learnt it (I don't think he's played the Paderewski as much); Hough actually put the Scharwenka Fourth into his schedule. He did it in the States in quite a few places, but he couldn't get a concert in London; nobody would take it."
Just precisely how many top-flight pianists, with busy concert schedules, can afford the time to learn often fiendishly taxing solo parts that they may ultimately only perform once in a studio for Hyperion? That they do it at all should be cause for celebration.
I agree - but, for us lovers of VCs, there's such a yawning gap (explored on the predecessor to this forum in some detail) that it is extremely frustrating to find that the latest entry in the RVC series is only of Vieuxtemps 4 & 5. I'm simply not interested in this unadventurous repertoire, especially as it has been recorded in the past by some of the great violinists.
No, for the moment the RVC series has seriously lost its way. I mean, look at what Dutton have just brought out (Wood), or Simax (Borgstrøm), or 2L (Bull), or Acte Préalable (Stojowski) or Sterling (Raff), or Guild (Jaques-Dalcroze), or Naxos (Joachim VC1; Rode), or Dacapo (Lange-Müller), or cpo (Herzogenberg; Kreutzer), or Supraphon (Foerster)....
It's really hard to take Hyperion seriously if all they can come up with is Vieuxtemps - and his two best-known VCs at that...
Quote from: Alan Howe on Sunday 18 April 2010, 23:18
It's really hard to take Hyperion seriously if all they can come up with is Vieuxtemps - and his two best-known VCs at that...
I second that. But it could have been worse, as with the Romantic Cello Concerto "series". 4,5 years down the road, and still stuck at volume no. 2... And that with all those interesting (late) romantic cello concertos! Granted, they're not as many as their violin counterparts, but looking at labels like CPO and Sterling, there's apparently enough material. Has the Svendsen concerto finally been recorded yet?
I do wish Hyperion would record the Victor Herbert Cello concertos it could make a nice vol. on the Romantic cello concerto series. As for the Romantic violin concertos the upcoming Vieuxtemps 4 & 5 is a HUGE let-down!!! there are so many other choices
The Lyapuniov violin concerto and the Reynaldo Hahn concerto would be nice projects!
QuoteThe Lyapuniov violin concerto and the Reynaldo Hahn concerto would be nice projects!
Both are already commercially recorded!
Lyapunov on an Artek CD:
http://www.artekrecordings.com/artek/CD28.htm (http://www.artekrecordings.com/artek/CD28.htm)
Hahn on a Maguelone CD:
http://www.integralmusic.fr/detail.aspx?num=182 (http://www.integralmusic.fr/detail.aspx?num=182)
Both available it seems. Check other sites for maybe better prices.
Best,
Tobias
The Lyapunov's a 62 year-old recording. We definitely need one in stereo!
Hello FBerwald,
The Victor Herbert Cello Concertos 1&2 were available on Decca CD #417 672-2, with Lynn Harrell soloist, and the Academy of St Martin-in-the-Fields, conductor Neville Marriner. (rec.1988) Also included on the disc are Five pieces for Cello & Strings.
I bought my copy in the early 90's, and although it is no longer available, it is available from Amazon for $15.79.
You will find this recording , is probably as good as it gets, but I agree that another recording coupling both,is overdue, particularly of the Concerto no1 in D, as opinions often differ. The 2nd Concerto has been given a few recordings.
Marcus.
I'd actually prefer to see them recorded separately, as I already have the 2nd with the Dvorak played by Yo Yo. :)
kriton, the Svendsen Cello Concerto HAS been recorded- on LP; Norwegian Cultural Council; I have this recording.deleted so we could, legally, do a swap :)Can only do Lp to cassette though, but have good tape deck
Steve
Quote from: petershott@btinternet.com on Sunday 18 April 2010, 09:22
The point is that a different RPC Volume 50 could have been released that would have been met with whoops of delight, broad grins, or jubilation on the part of someone advocating that we'd benefit from listening to music from a hitherto neglected composer. Instead there is a slight puzzlement: the Tchaikovsky release is doubtless good enough as a set of recordings of Tchaikovsky, but why has Hyperion done it? Is there strong musical (or commercial) point to it? Hardly.
Peter
In one sense I agree - We have come to expect 'rare' Romantic Piano Concertos and, if you all are like me, crave even more rareties. However I doubt very much that many of the previous 49 volumes have actually paid for themselves so I think Hyperion can be forgiven for including a disc that will make them money and, let's be honest, includes one of the ultimate Romantic Concertos. OK I'm a huge fan of Stephen's so will be getting the disc sometime soon but it also nice to know that quite apart from the upcoming Rosenhain and Taubert we will be getting Wieniawski, Goetz, Widor, Pixis and Wiklund and others in the next two years.
Hopefully sometime after that we will also get the Schelling Artist's Life - it should be out of copyright soon.
Rob
Quote from: hammyplay on Wednesday 28 April 2010, 12:07
Hopefully sometime after that we will also get the Schelling Artist's Life - it should be out of copyright soon.
Rob
It is already out of copyright old chap.
Thal
Quote from: thalbergmad on Wednesday 28 April 2010, 12:20
Quote from: hammyplay on Wednesday 28 April 2010, 12:07
Hopefully sometime after that we will also get the Schelling Artist's Life - it should be out of copyright soon.
Rob
It is already out of copyright old chap.
Thal
Doesn't time fly when you're having fun?
I asked Mike about the Schelling and I think he said they couldn't record it at the same time as the Suite because it was still in copyright - obviously things have moved on.
Rob
Indeed time does fly my friend and i appreciate your post as i have forgotten to order a copy of the score from the NYPL.
I used to keep a little diary to notify me when certain composers were going to become out of copyright, but i appear to have lost it.
I think De Greef expires at the end of this year which will be nice.
Thal
Maybe the problem with the Schelling was that at the time the Suite was recorded, Schelling's widow, Helen (Schelling) Scholz was making arrangements for her friend Mary Louise Boehm to record An Artist's Life in Majorca with the local orchestra. Perhaps she made objections to a rival recording? She was very protective of MLB. And of Schelling as well; I once wrote program notes for a Schelling performance MLB and Helen were involved with and referred to his having had a nervous breakdown at the end of his child prodigy period. 'Absolutely not,' said Helen, 'he was always as healthy as your or I. Take that story out.' And I did, even though I knew he'd had a collapse before working with Paderewski put him back together again.
As for the MLB recording: as might be imagined, the results, orchestrally speaking, were sub-par and that recording will never be released.
Now Helen is dead and her objections hardly matter. Here's her Death Announcement from the NY Times:
SCHOLZ--Helen ''Peggy'' (Marshall), age 89, died in her sleep on July 28, 2007. Lifelong New Yorker, daughter of Charles H. ''Buddy'' Marshall and Alice Huntington, and sister of the late Charles H. Marshall. Widow of Ernest Schelling and Janos Scholz. She is survived by her son Christopher Scholz, his wife Ines Elskop and their son Nicolas Scholz. Helen will be remembered at a memorial service to be announced in the fall.
David
Quote from: edurban on Thursday 29 April 2010, 02:38
Maybe the problem with the Schelling was that at the time the Suite was recorded, Schelling's widow, Helen (Schelling) Scholz was making arrangements for her friend Mary Louise Boehm to record An Artist's Life in Majorca with the local orchestra. Perhaps she made objections to a rival recording? She was very protective of MLB. And of Schelling as well; I once wrote program notes for a Schelling performance MLB and Helen were involved with and referred to his having had a nervous breakdown at the end of his child prodigy period. 'Absolutely not,' said Helen, 'he was always as healthy as your or I. Take that story out.' And I did, even though I knew he'd had a collapse before working with Paderewski put him back together again.
As for the MLB recording: as might be imagined, the results, orchestrally speaking, were sub-par and that recording will never be released.
Now Helen is dead and her objections hardly matter. Here's her Death Announcement from the NY Times:
SCHOLZ--Helen ''Peggy'' (Marshall), age 89, died in her sleep on July 28, 2007. Lifelong New Yorker, daughter of Charles H. ''Buddy'' Marshall and Alice Huntington, and sister of the late Charles H. Marshall. Widow of Ernest Schelling and Janos Scholz. She is survived by her son Christopher Scholz, his wife Ines Elskop and their son Nicolas Scholz. Helen will be remembered at a memorial service to be announced in the fall.
David
Thanks for the info, David. It seems so odd to think she survived him by 68 years!
Regarding the Artist's Life impressions I have a copy of Schelling's performance coupled with Paderewski's Polish fantasy which is marvelous but it would be great to have a modern recording. What are people's thoughts on an American coupling? My vote would be one or both of the Chasins Concertos (don't know how long they are).
Rob
Quote from: thalbergmad on Wednesday 28 April 2010, 17:09
I think De Greef expires at the end of this year which will be nice.
Thal
Love, love, love the De Greef concertos - the usual unanswerable question but why aren't these better known?
Does anyone know of a recording of his Concertino in G, Fantaisie on Flemish folksongs op3 or Minuet variee (all piano and orchestra)?
Rob
I have only ever heard the concerto and was blown away.
Never heard the others, but it would be nice if recordings exist.
Thal
Quote from: thalbergmad on Wednesday 28 April 2010, 17:09
I think De Greef expires at the end of this year which will be nice.
Thal
De Greef copyright? of which piece? I believe both his Piano Concertos have been recorded on Marco Polo. If there are other concertant works...WOW Can't wait!!!!!
If you like Flemish music try Peter Benoit - Piano Concerto.
Quote from: thalbergmad on Wednesday 28 April 2010, 17:09
I think De Greef expires at the end of this year which will be nice.
Thal
Earlier than that, dear fellow - on August 29. Keep your eyes open for interesting things in the next year and a half or so...
Quote from: FBerwald on Thursday 29 April 2010, 13:25
De Greef copyright? of which piece? I believe both his Piano Concertos have been recorded on Marco Polo. If there are other concertant works...WOW Can't wait!!!!!
If you like Flemish music try Peter Benoit - Piano Concerto.
All of his work, since he passed away 70 years ago.
Next to the two concertos, there are recordings languishing in archives (and on my hard drive) of the wonderful Fantasy on Flemish Themes for piano and orchestra, the concert (or 'concertino') for piano and small orchestra, the Flemish Suite in G and a few very worthwhile chamber pieces. No recording of the Minuet Variee or the Italian Suite, as far as I know.
Rob, I don't know Chasins' concertos except by reputation, but if you are open to liking them, you might enjoy the third piano concerto of American composer Richard Faith (the only one of his I've heard). He has a talent for writing big tunes, a big technique that is evident in the solo part, and considerable compositional chops.
Quote from: rihanbd33 on Saturday 01 May 2010, 16:16
The Romantic Piano Concerto has nice sound.Some of this music has only been performed once or twice, while other pieces still await a first performance. The purpose of this site is to stimulate performances and recordings of this music and to explore the little known compositions. Give me some information.
The best primary source of information is Hyperion's own website. Here you will find information on all the releases:
http://www.hyperion-records.co.uk/s.asp?s=S_1 (http://www.hyperion-records.co.uk/s.asp?s=S_1)
http://www.hyperion-records.co.uk/RPCCAT2010.pdf (http://www.hyperion-records.co.uk/RPCCAT2010.pdf)
Guys, that was a spambot of some sort, combining stuff said earlier in the thread with the general point of the forum.
Quote from: TerraEpon on Saturday 01 May 2010, 20:43
Guys, that was a spambot of some sort, combining stuff said earlier in the thread with the general point of the forum.
Thanks - I suspected as much, but didn't want to presume that it
wasn't an enthusiastic (if inarticulate) new convert to the cause.
Didn't seem to be much point to that bot. It's about to be shot like a carnival ducky. ;D
They make them that intelligent and enthusiastic about unsung composers?
RPC Vol. 50 (Tchaikovsky) is flying off the shelves, so Mike Spring tells me - which is good news for everyone on this forum, because it will mean Hyperion can afford to record some repertoire which, while it will appeal to us, might not "fly off the shelves" so much as roost there!
Quote from: Gareth Vaughan on Friday 07 May 2010, 17:17
RPC Vol. 50 (Tchaikovsky) is flying off the shelves, so Mike Spring tells me - which is good news for everyone on this forum, because it will mean Hyperion can afford to record some repertoire which, while it will appeal to us, might not "fly off the shelves" so much as roost there!
Gareth, that's excellent news regarding the sales of RPC 50. Hyperion is a recording company that deserves commercial success in return for their enterprising catalogue. If the return from the Tchaikovsky helps to balance out their investment in Spohr, Simpson, Bantock, de Sabata, Mackenzie, etc. etc., I couldn't be more pleased. We should always remember that 'mainstream' repertoire stands out so starkly from Hyperion's issue-list precisely because it is included so rarely!
Poor Hyperion, where piano concertos are concerned, the cry is why don't Hyperion---. Danacord had quite a good series of unusual piano concertos and also a series by related composers ie; father and son, brothers-inlaw etc.. Where Hyperion have scored and others have failed is that they bring out three piano concerto discs a year and have a house style. Who knows which other labels are bringing out what and it is then a case of tracking it down.
Absolutely - which is why I spend so much time searching for forums like this excellent one to help keep track of all these "incidental" releases. Danacord have been excellent of course with the 4 Danish Piano Concerto series (more were promised at one point including concertos by Siboni, von Klenau, Schierbeck and Hansen but it looks like the series has probably now ended - anyone know?) as well as the Pabst. Otherwise there is Teleffsen on Simax, Bowen , Montague Philipps and Hely-Huchinson on Dutton, Kunneke on Koch Schwann, lots on Naxos (D'Albert, Bax, Beach, Ries, Hummel, Pitfield, etc and Stenhammar to come), Marx on ASV, Huber and Raff on Sterling, Reinecke, Thuille, Goetz and Schmidt on CPO and the gorgeous De Greef on marco polo. That's just picking a few at random. I'll keep an eye out here for new and rare delights from independent labels.
Rob
QuoteOtherwise there is Teleffsen on Simax
Thomas Dyke Acland
Tellefsen :)
Morten
Quote from: M. Henriksen on Wednesday 30 June 2010, 19:03
QuoteOtherwise there is Teleffsen on Simax
Thomas Dyke Acland Tellefsen :)
Morten
Knew I should have actually gone and looked at the CD case.
Quotemore were promised at one point including concertos by Siboni, von Klenau, Schierbeck and Hansen
The orchestral parts for the Siboni cannot be found. The Schierbeck piece is (I
think) a one movt. "Fantasy" which has been recorded before (I'm not sure about this - I may be wrong!). As to the others, Danacord said they existed only in MSS and were not very good, so they decided to call it a day.
I have seen Klenau's piano concerto (at least, a photocopy). It is in MS, but certainly not in a bad condition.
Sorry, I didn't make myself clear. I meant that Danacord did not think they were very good as piano concertos. It was a comment on the quality of the music not the state of the MSS. I hasten to add that I have not seen any of them myself. I merely pass on what Danacord told me about 4 or 5 years ago.
Quote from: Gareth Vaughan on Thursday 01 July 2010, 21:24
Quotemore were promised at one point including concertos by Siboni, von Klenau, Schierbeck and Hansen
The orchestral parts for the Siboni cannot be found. The Schierbeck piece is (I think) a one movt. "Fantasy" which has been recorded before (I'm not sure about this - I may be wrong!). As to the others, Danacord said they existed only in MSS and were not very good, so they decided to call it a day.
Schierbeck - "Natten", symphonic scene for piano and orchestra, op. 41? Recorded on a Point CD, 1980s.
Eric
Just noticed that Jonathan Plowright is set to record concertos by Zelenski and Zarzycki for Hyperion
see here
http://www.jonathanplowright.com/Jonathan Plowright Newsletter Summer 2012.pdf (http://www.jonathanplowright.com/Jonathan%20Plowright%20Newsletter%20Summer%202012.pdf)
Well spotted. This is excellent news! I've really enjoyed what I've heard of Zelenski (especially the string quartets), but confess I don't know Zarzycki at all. Given the contributors to this forum I'm sure I'm very soon going to learn about him! That will be a real pleasure.
I think I'll start a new thread on the Zelenski/Zarzycki PCs so that we can track the progress of the recording...
Many thanks!