Striking Concertos

[Peter1953]

One of the nice things of our Forum is that you can always encounter new discoveries in classical music.  Take the "Danish Piano Concertos III". What a lovely, surprising piano concertos by Otto Malling (1848-1915), Ludvig Schytte (1848-1909) and Siegfried Salomon (1885-1962).
Especially Schytte's concerto in C sharp minor (1884) is a real gem, but the Malling is hardly less astonishing. Majestic openings, virtuoso piano writing, gorgeous slow movements, all very pleasant to hear.
By the way, I wonder how to pronounce the name Schytte. I've always thought that the letter combination "sch" was typically German/Dutch. Well, very unimportant.
The concerto in A minor, op. 54 by Siegfried Salomon (1947) is by no means reminiscent of the other - and very famous - concerto in A minor, op. 54. But, apart from the first ten seconds, I like it too. There are some memorable moments. The booklet notes say that he wrote in a romantic style, but that was a wrong style at the wrong time because the engaged musical intellectuals didn't want late-romantic music. Well, Salomon's piano concerto is definitely a typical 20th century piece of music, but with some fine romantic tunes. The opening theme (as soon as the piano enters) keeps going around in my head.

Thanks Thal, for mentioning Schytte.

[thalbergmad]

By the way, I wonder how to pronounce the name Schytte.

If memory serves it is pronounced shooter, or something close to that.

I was listening to the Vol 2 from the Danish series this morning and had forgotten what delights were contained within the Winding and Hartmann concerti. A thoroughly civilised way to spend a Sunday morning.

Thal

[thalbergmad]

Forgot to mention if anyone has listened to the Flotow Concerti yet.

I have ordered the disc, but don't expect it to arrive until February.

Are they any good??

Thal

[JimL]

I have.  Don't have time to get into them now, but the 2nd is quite interesting.  Both works are charming, if rather lightweight, but the 2nd is in 4 movements and has some particularly fine material.  Working out his material was one of Flotow's weaknesses, but it was rather unnecessary in these concertos anyway.

[thalbergmad]

Thanks Jim.

I await my CD with baited breath and i must remember to order the Rufinstcha as well, since he appears to be highly regarded around here.

Regards to all.

Thal

[peter_conole]

Hi all

We live in an embarrassment of riches - several hundred neglected or forgotten romantic piano concertos have been recorded since the CD revolution began. Such emerging works will, with luck, help to consign a huge proportion of 20th century musical garbage to the scrap heap, where it is still long overdue.

Of course, once the smaller labels got going and found out their balance sheets were in the blue because of the 19th century stuff, everything changed. Mr Flotow is just fine, but his piano concertos need to be celebrated and cuddled and admired as late teen creations, and all the better for it. Same with the alarming (but gorgeous) Rubinstein piano concerto no 1, 1849.

The more mature works of the era, those of concentrated and controlled artistry (Brahms, 1 and 2),are in a different world. But in the same sound world as 'the meisters' such as Brahms, there is room for galumphing musical excess and youthful triumph, and sincere respect for it all. Mr Mathieu of Canada's assorted works might and should apply here.

regards
Peter

[thalbergmad]

Such emerging works will, with luck, help to consign a huge proportion of 20th century musical garbage to the scrap heap, where it is still long overdue.

I normally get myself into trouble for saying things like that on forums, so I will keep silent and only say that i agree with you 100%

Thal

[peter_conole]

Hi all

I mentioned Stenhammar's piano concertos earlier. Hyperion has or is about to release a new recording of them.

regards
Peter

[Yavar Moradi]

I find Reinecke's PCs rather erratic.  Of the 4 the last is probably the least distinctive, although the sheer memorability of its material makes its neglect somewhat mystifying.  Maybe the fact that its style was extremely conservative for its timeprovides a possible explanation.  The 2nd (actually the 1st, chronologically) has the best overall material, but there are structural problems with the finale (due, in part, to the composer's clumsy, and rather unnecessary attempts at a cyclic relatiohship between the 2nd and 3rd movements) that render it less than wholly satisfactory, although still worthy of more frequent revival.  Of the remaining two, I rank the 3rd ahead of the 1st in terms of balance between effective material and formal restraint and concision.  The cyclic aspects are well balanced and the material is inspired throughout, although the piano dominates the proceedings in the first movement a little too much.  The 1st is a dramatic and effective work, but not nearly as accomplished a piece as the 3rd.

Just goes to show you how opinions differ...I find myself enjoying the 1st and 4th concertos of Reinecke's much more than the 2nd and 3rd.

Yavar