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Hummel: Piano Concerto Op. 34a, Rondo Brillante Op. 56, Op. 98 / Shelley, London Mozart Players
Hummel: Piano Concerto Op. 34a, Rondo Brillante Op. 56, Op. 98 / Shelley, London Mozart Players
"Howard Shelley has made a project of recording Hummel’s eight piano concertos. This C-Major concerto is the composer’s first mature work in this genre, written in 1809—the same year that Beethoven wrote his “Emperor” concerto. There are surface resemblances between the two concertos. In their outer movements, we catch a whiff of the military parade ground (if not the battlefield). The middle movements are long-breathed songs of limpid beauty. Of course, the difference between the two is that Beethoven’s concerto is surprising and innovative, while Hummel’s is (for the most part) safe and rather predictable. Let’s face it, though: aren’t there times when you are relieved by things that are safe and predictable?
The Rondos brilliant date from approximately 1814 and 1822, respectively. Each is just over 16 minutes long. The first one is musique pour les dames, and the second is based on Russian folk material. (Hummel was touring Russia when he wrote it.) If the relatively lengthy C-Major concerto (34:49) is a panoramic canvas, these two works are concertos in miniature—perfectly formed, thoughtfully appointed, and precise... Shelley’s performances, leading the London Mozart Players from the keyboard of a Steinway concert grand, do not attempt to make Hummel into the firebrand that he was not. This is stylish, always genteel playing, reminding us that Hummel was a young protégé of Mozart. Although Hummel’s slow movements sometimes anticipate Chopin, particularly in the decoration of the piano part, that sort of pre-Romantic freedom is not emphasized here. The musicianship overall is small-scaled, but not disappointingly so. Chandos’s engineering is bright, and Derek Carew’s booklet notes are informative."
Raymond Tuttle, FANFARE
The Rondos brilliant date from approximately 1814 and 1822, respectively. Each is just over 16 minutes long. The first one is musique pour les dames, and the second is based on Russian folk material. (Hummel was touring Russia when he wrote it.) If the relatively lengthy C-Major concerto (34:49) is a panoramic canvas, these two works are concertos in miniature—perfectly formed, thoughtfully appointed, and precise... Shelley’s performances, leading the London Mozart Players from the keyboard of a Steinway concert grand, do not attempt to make Hummel into the firebrand that he was not. This is stylish, always genteel playing, reminding us that Hummel was a young protégé of Mozart. Although Hummel’s slow movements sometimes anticipate Chopin, particularly in the decoration of the piano part, that sort of pre-Romantic freedom is not emphasized here. The musicianship overall is small-scaled, but not disappointingly so. Chandos’s engineering is bright, and Derek Carew’s booklet notes are informative."
Raymond Tuttle, FANFARE
$21.99
Hummel: Piano Concerto Op. 34a, Rondo Brillante Op. 56, Op. 98 / Shelley, London Mozart Players—
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Hummel: Piano Concerto Op. 34a, Rondo Brillante Op. 56, Op. 98 / Shelley, London Mozart Players
"Howard Shelley has made a project of recording Hummel’s eight piano concertos. This C-Major concerto is the composer’s first mature work in this genre, written in 1809—the same year that Beethoven wrote his “Emperor” concerto. There are surface resemblances between the two concertos. In their outer movements, we catch a whiff of the military parade ground (if not the battlefield). The middle movements are long-breathed songs of limpid beauty. Of course, the difference between the two is that Beethoven’s concerto is surprising and innovative, while Hummel’s is (for the most part) safe and rather predictable. Let’s face it, though: aren’t there times when you are relieved by things that are safe and predictable?
The Rondos brilliant date from approximately 1814 and 1822, respectively. Each is just over 16 minutes long. The first one is musique pour les dames, and the second is based on Russian folk material. (Hummel was touring Russia when he wrote it.) If the relatively lengthy C-Major concerto (34:49) is a panoramic canvas, these two works are concertos in miniature—perfectly formed, thoughtfully appointed, and precise... Shelley’s performances, leading the London Mozart Players from the keyboard of a Steinway concert grand, do not attempt to make Hummel into the firebrand that he was not. This is stylish, always genteel playing, reminding us that Hummel was a young protégé of Mozart. Although Hummel’s slow movements sometimes anticipate Chopin, particularly in the decoration of the piano part, that sort of pre-Romantic freedom is not emphasized here. The musicianship overall is small-scaled, but not disappointingly so. Chandos’s engineering is bright, and Derek Carew’s booklet notes are informative."
Raymond Tuttle, FANFARE
The Rondos brilliant date from approximately 1814 and 1822, respectively. Each is just over 16 minutes long. The first one is musique pour les dames, and the second is based on Russian folk material. (Hummel was touring Russia when he wrote it.) If the relatively lengthy C-Major concerto (34:49) is a panoramic canvas, these two works are concertos in miniature—perfectly formed, thoughtfully appointed, and precise... Shelley’s performances, leading the London Mozart Players from the keyboard of a Steinway concert grand, do not attempt to make Hummel into the firebrand that he was not. This is stylish, always genteel playing, reminding us that Hummel was a young protégé of Mozart. Although Hummel’s slow movements sometimes anticipate Chopin, particularly in the decoration of the piano part, that sort of pre-Romantic freedom is not emphasized here. The musicianship overall is small-scaled, but not disappointingly so. Chandos’s engineering is bright, and Derek Carew’s booklet notes are informative."
Raymond Tuttle, FANFARE
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"Howard Shelley has made a project of recording Hummel’s eight piano concertos. This C-Major concerto is the composer’s first mature work in this genre, written in 1809—the same year that Beethoven wrote his “Emperor” concerto. There are surface resemblances between the two concertos. In their outer movements, we catch a whiff of the military parade ground (if not the battlefield). The middle movements are long-breathed songs of limpid beauty. Of course, the difference between the two is that Beethoven’s concerto is surprising and innovative, while Hummel’s is (for the most part) safe and rather predictable. Let’s face it, though: aren’t there times when you are relieved by things that are safe and predictable?
The Rondos brilliant date from approximately 1814 and 1822, respectively. Each is just over 16 minutes long. The first one is musique pour les dames, and the second is based on Russian folk material. (Hummel was touring Russia when he wrote it.) If the relatively lengthy C-Major concerto (34:49) is a panoramic canvas, these two works are concertos in miniature—perfectly formed, thoughtfully appointed, and precise... Shelley’s performances, leading the London Mozart Players from the keyboard of a Steinway concert grand, do not attempt to make Hummel into the firebrand that he was not. This is stylish, always genteel playing, reminding us that Hummel was a young protégé of Mozart. Although Hummel’s slow movements sometimes anticipate Chopin, particularly in the decoration of the piano part, that sort of pre-Romantic freedom is not emphasized here. The musicianship overall is small-scaled, but not disappointingly so. Chandos’s engineering is bright, and Derek Carew’s booklet notes are informative."
Raymond Tuttle, FANFARE
The Rondos brilliant date from approximately 1814 and 1822, respectively. Each is just over 16 minutes long. The first one is musique pour les dames, and the second is based on Russian folk material. (Hummel was touring Russia when he wrote it.) If the relatively lengthy C-Major concerto (34:49) is a panoramic canvas, these two works are concertos in miniature—perfectly formed, thoughtfully appointed, and precise... Shelley’s performances, leading the London Mozart Players from the keyboard of a Steinway concert grand, do not attempt to make Hummel into the firebrand that he was not. This is stylish, always genteel playing, reminding us that Hummel was a young protégé of Mozart. Although Hummel’s slow movements sometimes anticipate Chopin, particularly in the decoration of the piano part, that sort of pre-Romantic freedom is not emphasized here. The musicianship overall is small-scaled, but not disappointingly so. Chandos’s engineering is bright, and Derek Carew’s booklet notes are informative."
Raymond Tuttle, FANFARE
