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Hyperion Records

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Track(s) taken from CDA66729
Recording details: April 1994
Usher Hall, Edinburgh, Scotland
Engineered by Philip Hobbs
Release date: March 1995
Total duration: 19 minutes 39 seconds

'Unmitigated joy … I haven't enjoyed a concerto record more all year' (The Sunday Times)

'Brilliant performances' (Classic CD)

'Superlative performances' (The Scotsman)

'Demidenko is in his element with such music. His control of contrasting dynamics is astonishing, and the clarity of his passagework is unfaltering. Not the least exciting feature of these superb performances is the marvellously appropriate cadenza which Demidenko improvises for the first movement of the E flat Concerto. The recording is magnificent. Don't miss this one!' (Musical Opinion)

'Makellose Technik und musikalischen Verstand—eine Kombination, die man bei Pianisten heutzutage immer seltener antrifft. Und ganz nebenbei versprühen die Aufnahmen so viel Vitalität. Frische und erlichen Enthusiasmus, dass sie neben dem Interesse und der Neugierde auch die Stimmung des Hörers zu beflügeln verstehen' (Fono Forum, Germany)

'Scintillating performances' (Piano, Germany)

Piano Concerto No 1 in C major, J98 Op 11
composer
Peters Edition

Allegro  [8'47]
Adagio  [4'23]
Presto  [6'29]

Introduction  EnglishFrançaisDeutsch
Weber’s two piano concertos date from 1810 and 1812, the Konzertstück from 1821. Weber himself gave the first performances of all three: the C major in Mannheim, 19 November 1810; the E flat in Gotha, 17 December 1812; and the Konzertstück, in Berlin, 25 June 1821.

The First has been called ‘a bridge between the eighteenth and nineteenth centuries with a stylistic foot in each’ (Neil Butterworth, 1994). Architecturally, the Mozartean antecedents of its first movement are not difficult to spot. Nor can a Beethoven debt be missed—notably, the triplet octave descent leading into the reprise, an idea clearly borrowed from the downward-rushing glissando octaves at the corresponding point of Beethoven’s own Concerto in C. But there is plenty of refreshing surprise, even so—the absence of a cadenza, for example. The extraordinary, rarefied chamber scoring of the A flat Adagio (for just two horns, viola, two cello soli and bass). And the brilliantly dancing, cross-rhythm style of the finale (‘full of boisterous and tempestuous zest’, Weber says), climaxing in a searing double-octave glissando, the exhilaration of which positively consumes the keyboard. How Weber so relished these mechanically brilliant effects.

from notes by Ates Orga © 1995

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