Hyperion Romantic Piano Concerto Series - Volume 37 Eduard Napravnik (1839-1916) Concerto symphonique in A minor, Op. 27 (1877 - 31:15) Fantaisie russe in B minor, Op. 39 (1881 - 12:19) Felix Blumenfeld (1863-1931) Allegro de concert in A major, Op. 7 (1889 - 13:54) Evgeny Soifertis, piano BBC Scottish Symphony Orchestra Alexander Titiov, conductor Recorded Caird Hall, Dundee, Scotland, September 2004 Released August 2005 Hyperion CDA67511 [57:28] The Hyperion Romantic Piano Concerto Series has been a valuable compendium of relatively obscure works for solo piano and orchestra. Most of the volumes have featured compositions that deserve a place in the concert hall, but a few are evidence to the fact that some music is obscure for good reasons. Unfortunately, Volume 37 resides in the latter category. Both Eduard Napravnik and Felix Blumenfeld were fascinating and highly accomplished music professionals. Of Czech origin, Napravnik permanently moved to Russia in 1862 and became the chief conductor of the Mariinsky Theatre in 1869, holding this position well into the 20th century. It was through his leadership of the Mariinsky Theatre that Napravnik greatly influenced and supported Russian music by giving the premieres of over eighty Russian operas. He also was quite prolific as a composer, writing four operas, four symphonies, three string quartets, two piano trios, a piano quartet, violin sonata, and a host of solo piano pieces. His legacy as a conductor and champion of Russian music is substantial, but his own music has been largely discarded. Blumenfeld seemed to have a finger in every piece of the musical pie. He was a highly regarded teacher and pianist, nurturing the likes of Horowitz and Barere. As an editor, he effectively championed the works of other Russian composers. His own compositions number over 60 and include a symphony, string quartet, thirty-four songs, and numerous solo piano pieces. The best part of the program is the powerful 1st Movement from Napravnik's Concerto symphonique. Marked Allegro energico, the exposition's primary theme is thrilling in its determination and drive while the brass section belts out the music's urgency and the piano plays 'faster than the speed of light' octaves. However, my overall impression of Napravnik's music is that it's "show piece material" all the way in the grand romantic style. One will look in vain for any sense of substance or coherence other than architectural. Ultimately, it's a case of music without a soul. This type of music needs a great melodist at the helm such as Litolff in two earlier Hyperion volumes; Napravnik is not a great melodist. That is his shortcoming and the reason why his compositions are rarely played. Blumenfeld's Allegro de concert is largely cut from the same cloth as the two Napravnik works except it is less aggressive and more legato-shaped than the Napravnik; also, there is no denying that Blumenfeld has a greater affinity for the piano. The performances and sonics are excellent, and Soifertis is an up and coming pianist whose future will be interesting to chart. Georg Lickl (1769-1843) "String Quartets" Quartet No. 1 in D minor [23:07] Quartet No. 2 in G major [26:23] Quartet No. 3 in C minor [25:16] Authentic Quartet Recorded Hungaroton Studio, October 2003 Released November 2004 Hungaroton HCD 3220 [75:02] These are expertly crafted string quartets of a Haydnesque nature that are utterly charming and relatively carefree musical expressions intended to please a well-polished audience. Lickl had two distinct musical periods during his career. The first period covers his years in Vienna (1786-1806) where secular writing of keyboard, chamber, and stage works dominated his output. The second period begins in 1807 with Lickl assuming the post of choirmaster at the cathedral of Pecs, a position he held until his death in 1843; during this period, nearly all his music was written for church activities. The String Quartets on the Hungaroton disc were composed in the 1790's and reveal a master technician with the faculty to delight listeners with conventional phrasing that always has a keen ear for tuneful declarations. Although not as inventive as Haydn's String Quartets, these works should find grateful recipients among Haydn enthusiasts. The Authentic Quartet plays on period instruments, and its members graduated from the Ferenc Liszt Academy of Music in Budapest. The fault I find with the performances is an antiseptic element as if 'Mr. Clean' was a participant in the production; some blood on the plate would have been advantageous. In my review of the above Hyperion disc, I indicate that neither Napravnik nor Blumenfeld were great melodists; that assessment applies equally to Lickl. Friedrich Witt (1770-1836) "Orchestral Works" Symphony No. 6 "Sinfonie turque" in A minor [24:39] Flute Concerto in G major [22:46] * Symphony No. 9 in D minor [26:14] Susanne Barner, solo flute * Hamburg Symphony Orchestra Recorded March 2004 Released July 2005 MDG 329 1299-2 [74:07] This is the gem of the three discs being reviewed. If you think of Barry Manilow without the schmaltz, Friedrich Witt is the outcome. He was quite a tunesmith, offering such fetching melodies at will. Perhaps of even greater significance, he had an unerring sense of rhythmic flow and continuity. However, all is not in glorious condition. Witt's music is strongly Mozartian in phrasing and flavor, so much so that he sometimes sounds like a clone of the famous composer. My first reservation is that nobody does Mozart as well as Mozart himself, and I have hundreds of Mozart recordings to choose from when I want to listen to his music. My second reservation is of a more objective nature and concerns development sections and other parts of works where the main themes are reshaped. The great composers not only reshape in compelling fashion, they actually reinvent as well. These features are lacking in the Witt program, as his development and recapitulation sections are quite ordinary and ultimately redundant. As an example, the 9-minute 1st Movement of the Sinfonie turque simply does not possess sufficient material to warrant its length; the wonderful exposition with a fine coda would erase any notion of note-spinning and represent a very compelling movement of music. Of course, sonata form was the rage of Witt's time, and he was hardly a man to go against the established musical order. Moesus and his Hamburg forces certainly give their all to the production, and soloist Susanne Barner is in fine form with her limpid and clear tones. The sonics are up-to-date although some listeners might prefer a richer soundstage. Don's Conclusions: The Hyperion recording offers show piece music that is pleasing but has little more to offer. The Authentic Quartet's extremely well-scrubbed performances likely do not show Lickl's music in its best light, but I doubt that alternative versions are on the horizon. Last, but best, is the MDG/Witt disc featuring some beautifully spun music in splendid performances; If you love Mozart, consider Witt a man you want to hear. Don Satz [log in to unmask]