The Hyperion Romantic Piano Concerto series

Volume 3: Mendelssohn Concertos for Two Pianos

Of the myriad Piano Concertos composed in the second half of the 19th century all but a handful
are forgotten. The survivors are played with a regularity that borders on the monotonous: pianists,
promoters and record companies play it safe and opt for the familiar. Even a masterpiece can
become an unwelcome guest, especially when subjected to an unremarkable outing by yet another
indifferent player, as happens so frequently today. How refreshing, then, to have the dust brushed
off forgotten specimens of 19th century piano concertos and rendered clean and polished for
inspection again. Refreshing and rewarding, for they are exactly the sort of pieces that make one
wonder why we are forced to live off such a limited concerto diet. How is it that such appealing,
well-crafted, imaginative works with their high spirits and luscious tunes could have vanished from
the repertoire? It is time for those who promote and play piano music to be more adventurous
and imaginative in their programming.
1991 J eremy Nicholas





Felix Mendelssohn-Bartholdy
(Hamburg, February 3, 1809 - Leipzig, November 4, 1847)

Concerto in A flat major for two pianos (1824)
I. Allegro vivace [17:26]
II. Andante [9:45]
III. Allegro vivace [14:17]

Concerto in E major for two pianos (1823)
I. Allegro vivace - Poco pi allegro [12:58]
II. Adagio non troppo [9:17]
III. Allegro [8:20]

Stephen Coombs & Ian Munro, pianos
BBC Scottish Symphony Orchestra
J erzy Maksymiuk

Recorded in City Hall, Glasgow on 31 August, 1 September 1991
Recording engineer, Philip Hobbs. Recording producer, Andrew Keener
1992 Hyperion Records Ltd. CDA66567

Mendelssohns mature piano style was derived not so much from the orchestral texturing of
Beethoven and Schubert, as from the filigree intricacies of the German virtuoso piano school,
represented principally by Hummel and Weber, further enhanced by a Mozartian emphasis on
textural clarity. It was never Mendelssohns intention to push contemporary keyboard instruments
beyond that of which they were comfortably capable, more to utilise those qualities for which they
were best adapted brilliant clarity in the treble register, and the ability to sustain a flowing,
cantabile melody without undue bass risonance. Mendelssohns first surviving works in concerto
form date from 1822: the D minor Violin Concerto (not the popular E minor, a much later
composition) and the Piano Concerto in A minor, both with string orchestra accompaniment,
closely followed by a D minor Concerto for violin, piano and strings in May 1823. The Concertos
for two pianos also belong to this early group, the E major being dated 17 October 1823, and the A
flat major 12 November1824. both works had entirely dropped out of the repertoire until, in 1950,
the original manuscripts were rediscovered in the Berlin State Library. Mendelssohns sister,
Fanny, was also a gifted pianist, and it is almost certain that the E major Concerto was written with
her in mind. However, it also appears likely that the A flat major Concerto was inspired by Felixs
first encounter with the young piano virtuoso Ignaz Moscheles. Upon seeing the boy Mendelssohn
play, even Moscheles could barely believe his eyes: Felix, a mere boy of fifteen, is a phenomenon.
What are all other prodigies compared with him?" The major criticism levelled at the Two-Piano
Concertos is their tendency to overstretch relatively fragile musical material, as, with two soloists to
contend with, Mendelssohn had been keen to ensure that the music was shared equally, thus
involving an unusual amount of repetition. It would hardly be fair to expect even Mendelssohn to
have achieved the miraculous thematic concision and structural cohesion of the E minor Violin
Concerto and G and D minor Piano Concertos at such an early age.
Julian Haylock, from the booklet notes.




Ian Munro - Stephen Coombs

Coombs and Munro prove ideal advocates, playing with delectable point and imagination
(Penguin Guide to Compact Discs) Fine talent is on display here ... this programme makes ideal
listening as well as offering welcome insight into Mendelssohns great genius (CDReview) ..The
sheer joy of playing this music bubbles over in every measure (American Record Guide) ..
Sensitive and enchanting (Piano International)

This new record is a fair recommendation to those who are curious about, or fond of, the two-piano
concertos sometimes ingenious, sometimes pleasantly tuneful or stimulating works which lack the
quality of the solo concertos. The performances also lack something of the required energy and
dash, and occasionally the speeds adopted overtake clarity and precision of fingerwork. This is
noticeable especially in the virtuoso passagework of the protracted first movement of the A flat
work; the Weberian glitter of the E major Concertos finale comes off pretty well. The pianists
greatest strength is in their lyrical playing of the slow music, in particular the Adagio non troppo of
the E major. The recording might have made more of the musical alternations which Mendelssohn
exploits, especially in the finale of the E major.
Gramophone.co.uk

Three languages-, 10 pages-booklet in .pdf format included.
Complete details of the Romantic Piano Concerto project can be found
at the Hyperion Records website (Indexes Collections)
Quote:
Techn - The Romantic Piano Concerto, vol. 3
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Full artwork included in .png and .pdf lossless format, scans at 600 dpi resized to 300.
Text pages not descreened.