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Hyperion Records

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Track(s) taken from CDA68027
Recording details: September 2013
Ulster Hall, Belfast, United Kingdom
Produced by Annabel Connellan
Engineered by Ben Connellan
Release date: August 2014
Total duration: 14 minutes 19 seconds

'They are rewarding works … they sound especially effective in the persuasive hands of Howard Shelley. Shelley's sympathy for that uneasy period just before the romantic explosion is demonstrated by his exemplary recordings of Clementi (among others), and he demonstrates the same kind of expressive tact as a soloist here. Rhythms are consistently alert; the more lyrical passages bloom without excessive romantic milking; passagework is nimble; and most important, he manages to point up the music's harmonic twists without digging his elbows into our sides. His work as conductor is nearly as impressive: from the sting of the rhythms that launch the early G major Concerto to the airy dance rhythms in the finale of the E flat major, the accompaniments, inevitably attentive, complement the piano parts well. The orchestral players respond deftly, and the engineers have captured the proceedings with Hyperion's expected clarity. Add to this the fine notes by Stephan Lindeman and you have a sure-fire hit' (International Record Review) » More

Piano Concerto in G major, Op 1 No 3
before 1783; C4

Allegro  [9'14]
Rondo: Allegro  [5'05]

Introduction  EnglishFrançaisDeutsch
Dussek’s Piano Concerto in G major, Op 1 No 3, is an early work (one of three from Dussek’s first published set, composed before 1783), roughly contemporaneous with Mozart’s relatively early Viennese piano concertos, K413, 414 and 415, and just before that composer’s six concertos of 1784 (K449, 450, 451, 453, 456, and 459). Unlike all of Dussek’s subsequent efforts in the genre, this concerto is cast in only two movements (without a middle slow movement): an opening Allegro, capped by a fast rondo. The opening movement follows the typical Mozartian seven-part schema of opening tutti (first ritornello), solo exposition, second tutti, development, recapitulation, and closing tutti, bisected by an improvised cadenza. It is fascinating to ponder which (if any) of the Mozart concertos Dussek may have known at this point in his career, and indeed vice versa. And while Mozart is given the credit for codifying the late-eighteenth-century ‘double exposition’ first-movement concerto paradigm, the publication of Dussek’s Op 1 concertos in 1783 precedes Artaria’s issuing of the first Mozart concertos to be published (as Op 4 Nos 1–3, which we now identify as K414, 413, and 415, respectively) by two years. Though there doesn’t seem to be any documentary evidence, it is possible that the two young composers crossed paths.

from notes by Stephan D Lindeman © 2014

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