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Govan Town Hall, Glasgow, United Kingdom
Produced by Andrew Keener
Engineered by Tony Faulkner
Release date: November 1995
Total duration: 72 minutes 49 seconds
'The Stanford emerges as an absolute delight' (Piano International)
'Likeable works which are given performances of such conviction that one is thoroughly carried along' (The Scotsman)
'Splendid, eloquent performances in clear, warm sound plus Jeremy Dibble's scholarly notes full of insights about the period of these compositions makes this an issue not to be missed. One is left dumbfounded that the [Parry] concerto could have lain neglected for so long' (Classic CD)
'Sa virtuosité étourdissante, sa fougue, sa large palette sonore, son sens poétique confirment sa position étoile montante du piano britannique' (Diapason, France)
'Dos conciertos magistralmente interpretados por Piers Lane' (CD Compact, Spain)
'Ein Muß für Liebhaber des abseitigen romantisch-schwelgenden Repertoires' (Fono Forum, Germany)
'I cannot conceive of a better performance of these two long-neglected concertos … [I] urge you to take a first step in the rehabilitation of two highly attractive piano concertos by acquiring this wonderful disc' (Fanfare, USA)
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Movement 1: Allegro maestoso
[11'52]
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Movement 2: Maestoso
[9'07]
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Movement 3: Allegro vivace
[13'45]
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Movement 1: Allegro comodo
[15'27]
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Movement 2: Adagio molto
[13'05]
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Parry was indebted to the grand Romantic tradition of the late nineteenth century, and his colourful and exuberant concerto probably lays claim to be the first British piece written in such a style worthy of comparison with contemporary continental models. It is a virtuoso work, extrovertly conceived for piano and undoubtedly written for the technical proficiency of Edward Dannreuther, one of the most important exponents of the grand concerto style in London during the 1870s and 1880s. Stanford deliberately set out for his concerto to be ‘of a bright and butterfly nature’ to contrast with the usual epic tradition of the late nineteenth century. Much to the composer’s regret, the concerto was never published even though, as this recording bears out, it testifies to all that is distinctive, eloquent and craftsmanly in Stanford’s instrumental work. Having languished unperformed for a hundred years, these two concertos are here recorded for the first time. |
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