Robert Fuchs(1847-1927)
Piano Concerto in B flat minor, Op.27(1879/80)
Friedrich Kiel(1821-1885)
Piano Concerto in B flat major, Op.30(1864)

Martin Roscoe, Piano
BBC Scottish Symphony Orchestra
Elizabeth Layton, Leader
Martyn Brabbins, Conductor
Recorded City Hall, Glasgow, December 2001
Hyperion 67354[63:34]

Though begun just a few short years ago, the Hyperion Romantic Piano
Concerto series has now reached its 31st volume with the world premiere
recordings of the piano concertos of Robert Fuchs and and Friedrich Kiel.
A total of 44 composers have been represented, most of them far from
household names.

For fans of Romantic era piano concertos, this series has been a
treasure-trove of gems not generally available from any other record
companies.  Both Martin Roscoe and Martyn Brabbins have been featured
artists in earlier volumes, and both have been excellent guides into the
by-ways of the romantic musical literature.

My previous excursions into Robert Fuch's music are limited to the two
string quartet recordings on MDG; I found those works derivative and of
average melodic pleasure.  Fuch's name is often linked with late romantic
composers, but his music is squarely in the middle of the romantic era.
I have been more impressed with the music of Friedrich Kiel, particularly
his Missa Solemnis on the Capriccio label and his cello works on MDG.

Only fifteen years separate the two concertos on the disc, but there is
a wide gulf in emotional content.  Kiel's B flat major is a relatively
sunny affair; there are flourishes and climaxes, but they spring from
a upbeat view of life.  By contrast, Fuch's B flat minor has much more
drama, angst, and emotional breadth.

Fuchs was an avid follower and friend of Johannes Brahms who often
helped Fuchs with his career.  As it happens, the end of Brahms pretty
much ended any notion of lasting fame for Fuchs; the 'Brahms Circle'
couldn't maintain without Brahms, and Fuchs refused to venture into new
musical paths headed by Gustav Mahler.  By the time Fuchs died, his music
was considered archaic and not to be bothered with.  Recent years have
seen increased interest from record companies, and his excellent Piano
Concerto will hopefully fuel the trend.  Fuchs wrote more than one hundred
compositions, so there's an abundance of music to choose from.

Right from the fiery start of the B flat minor, it is clear that
Fuchs is going to delve intensely into the dark and heroic side of human
thought.  The 1st Movement is marked "Allegro maestoso ed energico", and
that's exactly what we get.  When the piano enters, Fuchs displays an
exceptional ability to blend orchestra with keyboard; also, the solo
part has many delicious passages that sparkle enticingly.  Although the
movement lasts over 17 minutes, there is never a dull moment as strength
and beauty are exhibited in unison and in contrast.  The architecture
is conventional and in the best tradition of the Romantic era.  Anyone
who enjoys the Brahms Piano Concertos would surely love this 1st Movement.

Fuchs switches to the key of D flat major for the 2nd Movement "Andante
sostenuto".  The music is highly lyrical with soaring strings, and the
subsequent introduction of the piano adds a lovely and delicate touch.
A more vigorous second section contrasts nicely with the initial subject,
and the chorale reprise is varied and enchanting.

The final movement is a brilliant rondo which soon takes a heroic turn
with a main theme in B major which pervades the entire movement.  As
with the 1st Movement, Fuchs explores the angst inherent in the human
condition.

The Fuchs Piano Concerto takes me quite by surprise.  I didn't know he
had such exemplary musical gifts, and his emotional breadth and lyricism
are stunning.  Most important, Fuchs is a 'natural' at combining the
forces of an orchestra and solo instrument, and I am disappointed that
he wrote only one piano concerto.

I haven't forgotten Friedrich Kiel who, like Fuchs, was a modest man who
didn't hawk himself or 'network' for future gain.  Known mostly for his
expertise in counterpoint and teaching, Kiel was also regarded as too
traditional for a progressive musical society.

As I noted above, the Kiel Piano Concerto in B flat major is a sunny
work with only occasional forays into the darker emotions.  However,
Kiel's ability to integrate piano and orchestra is just as expert as
Fuch's, and the sparkling and uplifting nature of Kiel's music is never
in doubt.  The outer movements, permeated with exuberance and good cheer,
frame an Adagio con molto which is just as lyrical and attractive as
Fuch's 2nd Movement.

Don's Conclusions: I couldn't ask for better performances than from
Roscoe and Brabbins, and the sound is state of the art - crisp, clear,
and sumptuous.  Both piano concertos deserve concert performances and
more recordings, especially the exceptional B flat minor from Fuchs.  I
strongly recommend the disc to anyone who appreciates piano and orchestra.

Don Satz
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