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Hyperion Records

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Track(s) taken from CDA67950
Recording details: July 2012
Federation Concert Hall, Hobart, Tasmania, Australia
Produced by Ben Connellan
Engineered by Veronika Vincze
Release date: September 2013
Total duration: 16 minutes 42 seconds

'These works offer a fascinating backdrop to the greatest masterpieces of the age. And you couldn't imagine a finer advocate than Howard Shelley, who is not only palpably committed to the cause (enthusing the Tasmanian Symphony Orchestra in the process) but who has both the dexterity and the musicality to make the best possible case for this music. Mention should be made, too, of the entertaining and informative notes by Jeremy Nicholas' (Gramophone)

'Played like this with virtuoso panache and total conviction, these pieces sound like neglected masterworks' (BBC Music Magazine)

'Howard Shelley, joyously familiar to collectors of this series, negotiates the coruscating arabesques, trills, repeated notes, thirds and what not with great aplomb, synchronising the orchestral accompaniment with remarkable skill even in rubato places where you'd think both hands were more full … the album is well worth the money for these works alone … Shelley is brilliant, as ever … adventurous newcomers should hop aboard, instantly. Another Hyperion triumph' (International Record Review)

'Shelley's limpid touch, clarity of fingerwork and limitless musicality make the effort sound as if it’s the proverbial piece of cake. The Tasmanian Symphony Orchestra rises to the challenge with verve and charm' (

Morceau de concert in C minor, Op 27
1845; Allegro maestoso; dedicated to the Philharmonic Society of London

Introduction  EnglishFrançaisDeutsch
Dreyschock’s Morceau de concert, Op 27, is dedicated to the Philharmonic Society of London. It opens with a Beethovenian declamation—and indeed throughout the piece there are allusions to several Beethoven works, notably the ‘Appassionata’ Sonata. A number of ideas are presented in quick succession before the piano’s fiery entry leads to its own treatment of these themes, including an enchanting section (from 2'55'') where the melody is presented by the left hand decorated with leggiero sixths and repeated notes in the right hand. A dolorous new subject in F minor is introduced by the solo cello (shades of Berlioz’s orchestration of Weber’s Invitation to the Dance) which eventually gives way to several exacting pages (marked con fuoco) and a return to the opening theme, now in F minor. The French horn, rather than the cello, announces the repeat of the lachrymose theme, still underpinned by the cello but now in the work’s tonic. There is no doubting the home key as we come in sight of the finishing post.

from notes by Jeremy Nicholas © 2013

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