Henry Charles Litolff (1818-1891)
Concerto Symphonique No. 2 in B minor, Op. 22 (1844)
Concerto Symphonique No. 4 in D minor, Op. 102 (1851/2)
Concerto Symphonique No. 3 in E flat, Op. 45 (1846) *
Concerto Symphonique No. 5 in C minor, Op. 123 (1854) *
Peter Donohoe, solo piano
Bournemouth Symphony Orchestra
Marcia Crayford, Leader
Andrew Litton, Conductor
Recorded October 1996
Hyperion 66889, Volume 14 [70:39]
Peter Donohoe, solo piano *
BBC Scottish Symphony Orchestra *
Elizabeth Layton, Leader *
Andrew Litton, Conductor *
Recorded October 2000 *
Hyperion 67210, Volume 26 [65:58] *
What would you think of a man who befriends the owner of a publishing
house, takes over control of the firm when the owner dies, and even
marries the owner's wife? At the very least, I'd say he takes advantage
of the opportunities that come his way. Add in a couple of dabs of
wildness/rebellion and a strong dose of flamboyant tendencies, and we
are at the doorstep of Henry Charles Litolff.
Born in London, Litolff didn't stay in any one place very long as a
young man, nor was he particularly missed when he departed. Let's just
say that his ethical foundation was not up to snuff. He had a stint in
debtors' prison and was involved in a number of scandals that usually
revolved around female interests. But we all mature at different times
in our lives, and Litolff eventually turned his life around and became
a respected and valuable member of his community. He did, at almost
sixty years of age, marry a young woman in her late teens, but you can't
blame a guy for wanting to feel refreshed, can you?
Litolff was also not your conventional composer. His flamboyancy
definitely spilled over into his creation of music, and many of his works
are of the 'Public Liszt' variety. Actually, Litolff's music had much
influence on Liszt who even dedicated his 1st Piano Concerto to Litolff.
Although I have waxed enthusiastically in past reviews of this series
as to how well composers like Fuchs and Lyapunov wrote for the combination
of piano and orchestra, they were novices compared to Litolff who must
have been born with a natural penchant for the combination. Pick any
movement of the four Concertos on these two Hyperion volumes and you'll
hear a blending and contrast not surpassed by any other composer for the
genre.
Having said the above, there are a couple of features you won't get
from Litolff: depth and any substanital emotional breadth excepting for a
moderate amount in his last Concerto. His music is for public consumption
and enjoyment, not for analysis or serious discussion. Litolff's music
takes us to vibrant environments loaded with gusto and flair; just go
with the flow and forget what you can't have.
I should also add that Litolff uses four movements for each Concerto,
giving the works what was considered a symphonic treatment at that time
as the typical concerto had only three movements. Hence, Litolff is
bestowed the "Symphonique" title. My last admin. item is that there
is no 1st Concerto. It was lost and remains missing. If you find it,
give me a call and I'll do a review.
Among the dozens of memorable moments on the two discs, these are some
highlights that stand out in my mind:
1. The Concerto Symphonique No. 2 has an heroic and uplifting 1st
Movement topped off by the most gorgeous and poignant music on either
disc starting at [Track 1, 3:29]. Vivacious energy is the calling
card of the 2nd Movement Scherzo, and the 3rd Movement Andante has an
irresistible dignity and confidence with plenty of feeling built into
the equation.
2. The beginning of the Concerto Symphonique No. 3 is a regal fanfare
that I keep hearing in my head for many hours after listening on disc.
The second movement contains the origins of the tune we all know as
"Three Blind Mice", and there are other melodies in the work that will
remind you of popular tunes of the 20th century.
3. The 4th Concerto in D minor has the relatively well-known 2nd Movement
Scherzo that is sometimes played separately in concerto and on record.
This sparkling piece is well served by Donahoe, although I'm not enthralled
that he tends to play ahead of the beat. Even better than the Scherzo
is the stunning Adagio religioso with its fantastic contribution of the
brass that opens the primary theme in understated fashion only to return
much later in a heroic and demonstrative display; it surprises me each
time I listen.
4. Litolff's last Concerto, No. 5 in C minor, is more serious in nature
that the previous three, but does not suffer for it at all. The fact
is that Litolff is compelling in these Concertos, whether in exuberant
cheer or with something of import to convey. Litolff actually broods
in the 1st Movement, and not just a few seconds at a time; you won't
find him brooding at all in the earlier Concertos. The 3rd Movement
Scherzo takes on a demonic attitude lightened by humorous refrains; I
find the combination delightful.
Don's Conclusions: Litolff's style of music-making isn't quite in my
comfort zone, but I know superb music when I hear it. The way he balances
his architecture between the solo instrument and orchestra reminds me
very much of Mozart as do the rhythmic flows and interaction of musical
arguments. Of course there's the Liszt factor, and Litolff doesn't look
bad at all in comparison. Overall, I can't imagine anyone who loves the
Mozart and Liszt Piano Concertos not falling hard for Litolff.
I almost forgot the performances. Donahoe's flying fingers navigate the
octave leaps and rapid-fire phrasing without missing a beat. Litton and
the two orchestras acquit themselves admirably, and the recorded sound
is excellent. However, the main thing here is the music. Any of these
four Concertos would be a crowd pleaser, and their general absence from
the concert hall is a mystery. They are also largely absent from the
world of recordings as well, so there is consistency across the board.
Be different and get a leg up on the establishment, because these two
Hyperion discs are wonderful examples of the grand romantic tradition
and demand shelf space in your music library.
Don Satz
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