Hyperion’s Romantic Piano Concerto series is surely one of the most absorbing and enterprising of current recording projects. Now up to Vol. 14, it shows no signs of becoming stale and, as this marvellous issue demonstrates, there is still a wealth of rare and often previously unrecorded repertoire waiting to be rediscovered.
Henry Litolff (1818-91) wrote five Concertos symphoniques of which four survive. As their title suggests these works are symphonic in conception, and the addition of a Scherzo (placed second, after late-Beethoven) to the classical concerto model, and the large orchestral resources, replete with four horns and three trombones, underline their symphonic weight. (Nevertheless, Berlioz’s view of these works not as concertos, but rather as symphonies with piano obbligato, seems to me to overstate the case.)
Peter Donohoe offers the first recording of the Second Concerto (1844), and he is authoritative and commanding. He produces a characteristically full tone which suitably complements the fullness of the orchestral writing, yet his brilliant articulation of the rondo finale shows that he can be as glittering and effervescent as he can be majestic.
It is the Fourth Concerto (1851-2), however, which is most striking. The Scherzo, with its sprightly gait and colourful orchestration is justly famous and usually performed separately. It is good, therefore, to be able to hear it in context, framed by an imposing first movement and a lovely Andante religioso slow movement followed by a full-scale sonata-structured finale. Again Donohoe’s playing is an almost perfect balance of bold assertiveness, lively animation and subtle delicacy. In certain passages one might wish for a slightly more caressing tone, or a little more open affection, but this does not detract from what is a hugely impressive achievement.
The Bournemouth Symphony Orchestra create a wonderful sound and, as one has come to expect from Hyperion, the recording and presentation are first-class.'