Piano Concertos composed in the second half of the 19th century are forgotten. The survivors are played with a regularity that borders on the monotonous. The pieces make one wonder why we are forced to live off such a limited concerto diet.
Piano Concertos composed in the second half of the 19th century are forgotten. The survivors are played with a regularity that borders on the monotonous. The pieces make one wonder why we are forced to live off such a limited concerto diet.
Piano Concertos composed in the second half of the 19th century are forgotten. The survivors are played with a regularity that borders on the monotonous. The pieces make one wonder why we are forced to live off such a limited concerto diet.
Of the myriad Piano Concertos composed in the second half of the 19th century all but a handful are forgotten. The survivors are played with a regularity that borders on the monotonous. Pianists, promoters and record companies play it safe and opt for the familiar. Even a masterpiece can become an unwelcome guest, especially when subjected to an unremarkable outing by yet another indifferent player, as happens so frequently today. How refreshing, then, to have the dust brushed off forgotten specimens of late 19th century piano concertos and rendered clean and polished for inspection again. Refreshing and rewarding, for they are exactly the sort of pieces that make one wonder why we are forced to live off such a limited concerto diet. How is it that such appealing, well-crafted, imaginative works with their high spirits and luscious tunes could have vanished from the repertoire? Listening to them afresh it is a teasing question to answer; the longer one ponders the matter, the fewer become the justifiable, verifiable reasons why todays audiences so rarely have the opportunity to enjoy works such as these delightful crowd-pleasers. It is time for those who promote and play piano music to be more adventurous and imaginative in their programming. 1991 J eremy Nicholas
Nikolai Medtner (Moscow, J anuary 5, 1880 - London, November 13, 1951)
Piano Concerto no. 2 in C minor, op. 50 (1920, rev. 1927) I. Toccata (Allegro risoluto) [17:37] II. Romanza (Andante con moto) [9:52] III. Divertimento (Allegro risoluto e molto vivace) [11:08]
Piano Concerto no. 3 in E minor, op. 60 (1940-43) I. Con moto largamente [15:21] II. Interludium (Allegro molto sostenuto, misterioso) [1:36] III. Finale (Allegro molto. Svegliando, eroico) [18:37]
Nikolai Demidenko, piano BBC Scottish Symphony Orchestra J erzy Maksymiuk
Recorded in Greyfriars Kirk, Edinburgh on 7, 8 November 1991 Recording engineer, Tony Faulkner. Recording producer, Andrew Keener 1992 Hyperion Records Ltd. CDA66580
GRAMOPHONE AWARD WINNER LUISTER-CD VAN HET J AAR 1992
Performances as searingly intense as they are ardently lyrical. Truly extraordinary fire and brilliance (Gramophone) A triumph (CDReview) Dazzling virtuosity (Classic CD) Waste no time in acquiring this magnificent disc (Piano International)
If you want to hear Medtners music purged of all possible superfluity or convention, vitalized in a way that previously seemed impossible, then Demidenko is your man. I have not heard a more thrilling recording of a virtuoso romantic concerto since Michelangelis legendary EMI disc of Rachmaninovs Fourth Concerto. Medtner, as much as any composer, requires a very special advocacy, an unwavering commitment expressed in a truly blazing keyboard temperament and pianistic resource combined with an innate sense of Russian lyricism. For despite many unsatisfactory tags (the Russian Brahms was one Medtner particularly disliked) and suggestions of cosmopolitanism, Medtner remains indubitably Russian. And it is this central elixir or quality which Demidenko conveys to perfection in performances as searingly intense as they are ardently lyrical. In page after page of these superficially diffuse and rambling scores his playing pulsates with a truly extraordinary fire and brilliance. Listening to other pianists you have your doubts concerning the musics ultimate quality but with Demidenko all possible sense of clich or staleness is swept into oblivion. From him you would never think for one second that you were listening to music that is strangely twice told. The opening of the Second Concertos Toccata is launched with a super-charged, molten bravura followed by a second subject caressed with the most insinuating ease and grace. Listen to Demidenko in the following al rigore di tempo (244) as an example of his razor sharp rhythm, or try 935 where his all-Russian virtuosity creates a truly vertiginous effect, almost as if one was being suddenly pitched down a mountainside. Similar wonders and felicities abound throughout the Third Concerto, arguably the most endearing of the three. Demidenkos is urgent with the opening theme, with its soaring melody and churning undertow, and the sweep and glamour of his pianism at, say, 400' are hard to resist. In page after page his sheer agility allows him an expressive freedom and verve that bring every bar vividly and authentically alive. The BBC Scottish Symphony Orchestra sound well equipped for their admittedly daunting task (Demidenkos abrupt changes of tempo and direction keep everyone on the qui vivre) and the recording is are outstanding, the balance very much as you would hear it in a live concert-hall performance. Above all you find confirmation of the words, quoted on Hyperions excellent sleeve, being a Russian is a duty. For Medtner coming to England did nothing to change that. The Moscow nights, the Russian spring, the basilicas and bards of his young manhood; such was his heritage, a chalice of dreams and memories to hold for always. Prince of truth, he was one of Russias great sons. Gramophone.co.uk
Nikolai Demidenko
This splendid disc is given a fine recording, good orchestral playing from a Scottish orchestra under a Polish conductor and, above all, truly coruscating and poetic playing from the brilliant young Russian pianist Nikolai Demidenko. Medtner was a contemporary and friend of Rachmaninov; he settled in Britain in the 1930s, and like Rachmaninov he was an excellent pianist. But while the other composer became immensely popular, Medtner languished in obscurity, regarded as an inferior imitation of the former who wrote gushing music that was strong on gestures but weak on substance. The fact is that he can be diffuse (not to say long-winded) and grandiose so that his music needs to be played well to come off. When it is, theres much to enjoy as here in Demidenkos hypnotically fiery and articulate accounts. The Gramophone Good CD and DVD Guide, 2005
Three languages-, 20 pages-booklet in .pdf format included. Complete details of the Romantic Piano Concerto project can be found at the Hyperion Records website (Indexes Collections)
Quote Techn / The Romantic Piano Concerto, vol. 2 Extraction: Exact Audio Copy 0.95 beta 3 Used drive: PLEXTOR CD-R PREMIUM, Offset +30 Read mode: Secure with NO C2, accurate stream, disable cache Manually integrated natively-tagged .flac files through EAC proper additional commandline: [-8 -V -T "artist=%a" -T "title=%t" -T "album=%g" -T "date=%y" -T "tracknumber=%n" -T "genre=%m" -T "comment=Exact Audio Copy 0.95 b3 Secure Mode / FLAC q8 v. 1.1.2" %s] Full artwork included in .png and .pdf lossless format, scans at 600 dpi resized to 300. Text pages not descreened.