Carl Maria von Weber - Piano Concertos; Konzertstück (Nikolai Demidenko)

Information

Composer: Carl Maria von Weber

1. Piano Concerto No. 1 in C major, Op. 11: I. Allegro
2. Piano Concerto No. 1 in C major, Op. 11: II. Adagio
3. Piano Concerto No. 1 in C major, Op. 11: III. Presto
4. Piano Concerto No. 2 in E-flat major, Op. 32: I. Allegro maestoso
5. Piano Concerto No. 2 in E-flat major, Op. 32: II. Adagio
6. Piano Concerto No. 2 in E-flat major, Op. 32: III. Rondeau. Presto
7. Konzertstück in F minor, Op. 79: I. Larghetto affettuoso - attacca:
8. Konzertstück in F minor, Op. 79: II. Allegro passionato - attacca:
9. Konzertstück in F minor, Op. 79: III. Tempo di Marcia - attacca:
10. Konzertstück in F minor, Op. 79: IV. Più mosso - Presto giojoso

Nikolai Demidenko, piano
Scottish Chamber Orchestra
Charles Mackerras, conductor

Date: 1994
Label: Hyperion
http://www.hyperion-records.co.uk/dc.asp?dc=D_CDA66729

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Review

This trilogy represents a breath of fresh air and a delight to hear amongst the repertoire of romantic piano concertos generally. Only over the last decade has an interest been shown in recording these works. One good early (1993) recording has appeared in turn on a number of budget labels from ZYX Classics to VOX with Hamburger Symphoniker under Köhler and can be used as a benchmark for this Hyperion version. It is understandable that someone like Mackerras with a deep interest in the romantic masters would find the recording of these sumptuous works irresistible.

Weber was only basically educated in music by his father before sending him to Michael Haydn in Salzburg for more serious study. Weber became an excellent pianist and undertook tours throughout Germany, His own piano music was of a standard comparable with that of the great Beethoven and although he could have followed Mozart as a model, he explored new directions and was equally imaginative in his compositions such as the ones found here. As the CD notes state, he took advantage of his gift for pearling runs and athletic leaps, thirds and sixths, octaves and glissandi. He exploited to the full his enormous long-fingered hand-stretch of around a twelfth. Thus as the composer Julius Benedict remembers,"Weber produced the most startling effects of sonority and possessed the power to elicit an almost vocal quality of tone."

The First Concerto opens with a bouncy and uplifting theme that yields interesting elements of surprise. The flow is melodic and Schubertian in parts yet more progressive. A chamber orchestral scoring is provided to carry the romantic Adagio, and a lovely dancing cross-rhythm runs through the Presto finale. One is aware of Mozartian and Beethovenian characteristics in some of the passages.

The Second Concerto pays homage to Beethoven’s Emperor Concerto. An admirer of Beethoven, Weber bought a copy of the score in 1811 and wrote this concerto in the same key a year later. He likewise includes a partially muted string Adagio in B major plus a lively galloping closing rondo in 6/8 time. Called‘a gem’by Benedict I find this work with its stately opening equally impressive as Beethoven’s concerto with interesting dialogue between soloist and orchestra. In the first movement a hint of Invitation to the Dance appears and as does a passage he must have remembered later when composing Der Freischütz. The beautifully composed and lovely Rondo: Presto is played by Demidenko and Mackerras with much panache (tk6).

The Konzertstück is a structured concerto with four seamless movements. It contains emotive ideas – parting, lament, misery, consolation, reunion and jubilation. A slow introduction is followed by a brilliant Allegro passionato (with Adagio bridge), a heavy-beat march and a lively Presto finale.

Nikolai Demidenko is first rate with his interpretation and certainly has the edge over Maria Littauer. (I cannot speak in relation to any other recordings.) His subtle phrasing and enjoyable glissandos are charming. Both soloist and conductor are well matched and sense each other’s subtleties. The recording is not as crisp as the spectacular recently released Saint-Saëns concerto set but the balance is good.

This Hyperion disc was first released in 1994.

The adequate notes are provided in English, French and German with a focus more on the pieces than the composer’s background.

-- Raymond J Walker, MusicWeb International

More reviews:

http://www.classical-music.com/review/weber-19

http://www.amazon.com/Romantic-Piano-Concerto-Vol-Koncertst%C3%BCck/dp/B000002ZUK

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Carl Maria von Weber (18 or 19 November 1786 – 5 June 1826) was a German composer, conductor, pianist, guitarist and critic, one of the first significant composers of the Romantic school. His operas greatly influenced the development of the Romantic opera in Germany. His composition for piano influenced composers such as Chopin, Liszt and Mendelssohn. His compositions for woodwind instruments occupy an important place in the musical repertoire. His orchestration has also been highly praised and emulated by later generations of composers.
http://en.wikipedia.org/wiki/Carl_Maria_von_Weber

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Nikolai Demidenko (born July 1, 1955, Aniskino) is a Soviet-Russian-born classical pianist. Demidenko studied at the Moscow Gnessin School with Anna Kantor and at the Moscow Conservatoire under Dmitri Bashkirov. In addition to a vast amount of the standard Germanic and Russian repertory, he is a specialist of Frédéric Chopin and a noted champion of the works of neglected composers, such as Carl Maria von Weber and Nikolai Medtner, as well as neglected works of well-known composers.
http://en.wikipedia.org/wiki/Nikolai_Demidenko

http://www.demidenko.net/

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