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 [log in to unmask]