Gabriel Pierne (1863-1937)
    Works for Piano and Orchestra

Piano Concerto in C minor, Op. 12 (1886 - 19:41)
Poeme symphonique in D minor, Op. 37 (1903 - 13:02)
Fantaisie-Ballet in B flat major, Op. 6 (1885 - 11:21)
Scherzo-Caprice in D major, Op. 25 (1890 - 8:08)

Stephen Coombs, piano
BBC Scottish Symphony Orchestra
Ronald Corp, conductor
Recorded in Caird Hall, Dundee, May 2002
Released December 2003
Hyperion 67348 [52:14]

Gabriel Pierne is among the multitude of composers who gained great fame
during their lifetime, only to be relegated to musical extinction upon
their death.  With hindsight, this change in favor concerning Pierne's
music would be expected given the derivative nature of his thoroughly
romantic compositions that were considered out of style as the 20th
century progressed.  Fortunately, the last couple of decades has seen a
reconsideration of composers such as Pierne, resulting in an acceptance
of derivative music that is pleasing to audiences based on its musicality
and craftsmanship.

The program begins with Pierne's three-movement Piano Concerto in C
minor.  Although not a masterpiece of the genre, the first two Movements
are especially enjoyable.  In the 1st Movement, a powerfully demonstrative
maestoso introduction is taken over by a first section of slashing rhythms
that is quite incisive; the second section is of the syrupy variety
although its ceremonial nature is compelling.

The 2nd Movement is a totally delightful Scherzando similar to the 2nd
Movement of the Saint-Saens Piano Concerto No. 2.  The music sparkles
throughout as Pierne shows his expertise at blending the orchestra with
the solo piano parts.  I'm not as enthusiastic about the 3rd Movement
which borrows from the themes in the 1st Movement; some of the writing
sounds contrived as do many of the piano runs.  Overall, this C minor
Concerto is certainly worthy of concert programming, if not at the level
of a Brahms or Rachmaninov piano concerto.

The Fantaisie-Ballet and the Scherzo-Caprice are fine and attractive
works of a frothy nature, but it is the Poeme-symphonique in D minor
that is the gem of the entire program.  All the other music on the
disc is for immediate consumption with no thoughts of long-run effects.
However, the wonderful Poeme-symphonique is a work of vision and the
most mature composition on the disc.  Unlike the other three works, this
near-masterpiece has meaningful and logical progression where tension
is introduced and developed to make sense of the powerful brass climaxes.
The chromatic harmonies are compelling, and the long contrapuntal
conclusion replete with stretto (voice overlap) effects is surprising
and just the right argument to end the work.  The grandeur and natural
flow of the music is quite impressive and representative of Pierne at
his most inspired.

The performances are expert in every respect although pianist Stephen
Coombs could have offered a bit more 'dash', and his piano projection
sometimes is covered by strong orchestral declarations.  Overall sound
quality is excellent, and raising the volume control will add to the
richness of tone.

Don's Conclusions: Not one of the most rewarding volumes in the Hyperion
series, the disc does offer many delights and a truly exceptional work
in the Poeme-symphonique in D minor.  For those who have been collecting
each volume in the series, feel free to indulge in this new Pierne
recording.  Those who are new to the series or collecting only the most
inspired volumes are advised to first acquire previous releases such as
the two Litolff recordings or the Fuchs/Kiel disc.

Gabriel Pierne isn't the type of composer who will astound listeners,
but his music is always appealing and sometimes highly inspirational and
visionary.  This is a fine disc of music for piano and orchestra that I
recommend without reservations.

Don Satz
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