And still it goes on. Hyperion’s Romantic Piano Concerto series reaches its 86th instalment with this coupling of composers who came into contact in the Paris of the early 1840s. Thomas Tellefsen studied with Friedrich Kalkbrenner at the recommendation of his teacher Charlotte Thygeson, in lieu of studying with Chopin, and the essential differences between them are readily demonstrated by comparing the concertante works recorded here.

Thomas Tellefsen’s selective output of just 44 opuses consists largely of music for solo piano and a handful of chamber works, but he also wrote two concertos he himself premiered. Both are laid out in the customary three movements – the First Concerto (1847‑48) opening with an Allegro whose tutti sets the tone for its restrained or even austere interaction of soloist and orchestra. Greater warmth is found in the central Andante with its appealing bel canto melody, leading straight into a final Allegro where this pianist-composer’s discerning virtuosity is to the fore.

The presence of Norwegian traditional music that informs this latter movement feels more pronounced in a Second Concerto (1853), which enjoyed wide currency in the later 19th century – its example not lost on Grieg. Here the element of pathos is more lightly applied, whether in the determined progress of its initial Allegro, the limpid poise of its central Adagio (surely ripe for Classic FM exposure?) or a final Allegro whose ‘Movimento di tarantella’ marking ensures some spirited and engaging repartee.

Already well served by this series (his First and Fourth Concertos on Vol 41, Nos 2 and 3 on Vol 56), Friedrich Kalkbrenner is here represented by Grande marche interrompue par un orage et suivie d’une polonaise (c1828), whose title rather underlines his ostentation. Akin to Weber’s Konzertstück in formal ingenuity if not expressive potency, its four sections (with strings only) take in a dextrous march-cum-storm and a polonaise of showy brilliance.

All three works are tailor-made for the pianism of Howard Shelley, his all-round alertness abetted by responsive playing from the Nuremberg Symphony Orchestra. If not an essential acquisition, this is a most pleasurable listen: Jeremy Nicholas, who pens informative notes, clearly enjoyed it hugely and listeners with a taste for the byways of musical Romanticism should do likewise.

This article originally appeared in the Spring 2024 issue of International Piano. Never miss an issue – subscribe today