Ten (unsung) Romantic Piano Concertos to hear before you die

[bulleid_pacific]

@Gauk:  Maybe.  But there are so many delightful moments in No. 2 that I'd take a lot of convincing.  To take one, I love the duple against triple time business which starts shortly after the beginning of the Finale.  And the second subject of the First movement is to die for.  Maybe I'm too easily pleased - I find the third a much more intellectual challenge....

[Gauk]

... Which is why I find it ultimately more rewarding. But the 2nd is wonderful too, no disagreement there!

[bulleid_pacific]

Probably depends on whether you want entertainment or stimulation.  Right now at the end of a tough term I need the former because the brain is shot away.  After a two week Easter holiday I'll be rejuvenated enough to tackle heartier fare - I hope!  And lest we disagree at all, I really enjoy Medtner 3 too - especially the Demidenko version - his star seems to have waned since though - and Tozer is also a reliable if unexciting guide.

[arpeggio]

It's probably one of the better known unsung concerti, but I must mention the Henselt. So many great moments - an arresting piano introduction, the string interlude within the Thalbergian arpeggio section, a fine lyrical second movement that doesn't sound like a perfunctory obligatory afterthought - a common problem with virtuoso concerti imo, and an absolute barnstormer of a last movement. Everything a romantic concerto should be.

Definitely in my top ten concerti, never mind top ten unsung.

His piano music sharing a similar style of left hand figuration, I also adore the Liapunov 2nd concerto for its ultralush romanticism: the composer has a very interesting harmonic sense. Some of his music sounds to me like a cross-blending of Liszt and Debussy.

[giles.enders]

The problem I have with all three Medtner concertos is that he seems to be affraid to display emotion.  To my ear, they seem to be over controlled, he never lets rip.  I like the Romantic concertos where there is a bit of excitement. I wonder what would have happened to him if Rachmaninov had not been so supportive. 

[JimL]

I could never limit my list to 10.  But definitely among my top 10 would be the Raff and Henselt.  Rubinstein 4 I'm a wobbler on, if only because I have trouble deciding whether or not it can still be numbered among the unsung.  It certainly doesn't pop up here live in L.A.  Scharwenka 1, 2 and 4 would definitely make my list, and certainly Rubinstein 5.  Both Lyapunovs would make my top 20 list, but I'm not sure which one I prefer over the other.  Considering the Paderewski and Moszkowski concertos are both wobblers for me as well regarding their unsung status, and my particular fondness for the early-Romantic works of Moscheles and Hummel, I just can't bring myself to limit my list to 10.  Who can resist the glorious tutti passages of the Moscheles 4th, or the forward-looking Hummel Op. 89?  And that leaves out the Hiller Op. 170, which has surpassed the Op. 69 in my estimation as my favorite Hiller work.

[Gauk]

Liapunov 2 is a goody. I remember back in (I think) the 1970s this came out on LP (EMI?) and was rubbished by a critic in the Gramophone magazine for being "hollow" and "empty". Oof! I don't think such foolish judgements would be passed today.

[Mark Thomas]

If the critic didn't given reasons for his "hollow" and "empty" tags then his critique seems pretty hollow and empty itself I'd say!

[Alan Howe]

Similarly, continuing to make nominations in this thread without offering any form of explanation is beginning to try the patience of this particular moderator. Let's get beyond what members like and explore the reasons why!!

[Gauk]

Similarly, continuing to make nominations in this thread without offering any form of explanation is beginning to try the patience of this particular moderator. Let's get beyond what members like and explore the reasons why!!

I see this as striking at the very heart of this sort of thread. Why should any piece be nominated for such a list? I can tell you that I like, oh, let's say the Fuchs Piano Concerto, and I can even give you a reason for liking it, but it isn't a reason why anyone else should like it.

So let me make an attempt to start a list that has nothing to do with liking. Very approximately chronological (i.e. I'm not bothering to check dates).

1. Any concerto by Moscheles.
Reason: Beethoven rated Moscheles's music highly, and one ought to consider his opinion to be worth something.

2. Any concerto by Herz.
Reason: Herz is rather an interesting figure. Hugely popular in his day, greatly prolific, now almost totally forgotten. His concerti are totally unpretentious - music for fun. Everyone ought to hear one and form their own opinion.

3. Reger's
Reason: For long a notorious work, forbidding for its difficulty (for the listener), now being re-assessed. One should form an opinion on this significant work.

4. Napravnik's
Reason: Any concerto that starts with an acknowledged lift from Verdi's Requiem (Yes! The Dies Irae! Wham-boom!) has to be heard to be believed.

5. Rimsky-Korsakov's
Reason: OK, Rimsky himself may not be unsung, but when did you last hear his Piano Concerto in the concert hall? Hugely innovative for its integrated one-movement structure, has been proclaimed the best of all 19th C Russian Piano Concertos.

6. Liapunov 2
Reason: Type example of the late-romantic hyper-lush apparatus. Like wallowing in a warm bath.

7. Medtner 3
Reason: Unusual in its combination of intellectual rigour with sensual beauty.

8. Busoni's
Reason: First choral piano concerto, and one of the longest (but is it unsung?).

So that is only eight, but it is all I can think of for now. One should add maybe:

9. First use of four-movement structure in a piano concerto (which?).

10. Reputedly most difficult to play (which?).

[Alan Howe]

Since some of us have to read every post, I can assure members that virtually any form of sensible explanation as to why a particular work is favoured adds immeasurably to the value of the opinion offered. We certainly have no intention of allowing the mere swapping of lists to blight this site in the way that it does certain others. It's informed debate and the exchange of views that we are looking for here,

[bulleid_pacific]

8. Busoni's
Reason: First choral piano concerto, and one of the longest (but is it unsung?).

Certainly is.  There was a debate in another thread about the man on the Clapham Omnibus.  Not only has he not heard of it, but 95% of the concert-going public have not even heard of Busoni.  Sad but true.

@Alan  Thanks for trying to introduce some rigour into a thread which I started and which I almost immediately realised would cause trouble because of its lack of focus.  However, it has still generated a lot of comments which I have found stimulating despite that.  I'll try to do better next time...

[Alan Howe]

No problem. It's actually been great to read some very interesting opinions in this thread.

[mattbrown]

I agree with Arpeggio about Henselt, the deep bass notes in the slow movement reverberate with my music-soul like something spiritual, and he ties the beginning and end together so well. Rheinberger's also has some of the same qualities I love, especially bringing it all together in the end. And I believe I have tooted my horn for the Marie Jaell's before, not being musically schooled, again, I can only say the reason I like them is that every phrase sounds like it could not have been any different than it is.

[alberto]

Is Busoni PC unsung? Yes, but (forgive my simplicity) less than others named in this thread (nothwistanding the enormous difficulty of the solo part, the length -and therefore risk of less than full audience-, the intervention of a male chorus just for a few minutes).
There are several recordings (since the Newton-Wood-Beecham).
I attended to two actual performances ( one of rhe Reger, one of the Rimsky, none of the others named).
Last summer Garrick Ohlsson, Gianandrea Noseda and the European Community Youth Orchestra (plus a male chorus) toured the Busoni P.C. through several cities in Europe (the coupling was generally R.Strauss "Also Sprach Zarathustra"), alternating with an "easier" program.
That was just to make an example of an unsung somewhat sorting from his status.