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Track(s) taken from CDA67950

Morceau de concert in C minor, Op 27

1845; Allegro maestoso; dedicated to the Philharmonic Society of London

Howard Shelley (piano), Tasmanian Symphony Orchestra, Howard Shelley (conductor)
Studio Master FLAC & ALAC downloads available
Studio Master:
Studio Master:
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 than 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' (Sinfini.com)
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

Dédié à la Philharmonic Society de Londres, son Morceau de concert op. 27 s’ouvre sur une déclamation beethovénienne—en fait, c’est toute l’œuvre qui est émaillée d’allusions à des pièces beethovéniennes, notamment à la Sonate «Appassionata». Plusieurs idées sont presentées à la file, puis l’ardente entrée du piano débouche sur leur traitement pianistique avec, notamment, une section enchanteresse (à partir de 2'55''), où la mélodie est exposée par la main gauche, ornée de sixtes leggiero et de notes répétées à la main droite. Un lugubre nouveau sujet en fa mineur, présenté au violoncelle solo (plane l’ombre de l’Invitation à la danse de Weber, orchestrée par Berlioz), s’efface finalement devant plusieurs pages exigeantes (marquées con fuoco) et un retour au thème inaugural, maintenant en fa mineur. C’est désormais le cor d’harmonie, et non plus le violoncelle, qui annonce la reprise du thème larmoyant, encore étayé par le violoncelle, maintenant à la tonique de l’œuvre. Il n’y a pas à douter du ton principal quand on est en vue du poteau d’arrivée.

extrait des notes rédigées par Jeremy Nicholas © 2013
Français: Hypérion

Dreyschocks Morceau de concert op. 27 ist der „Philharmonischen Gesellschaft von London“ gewidmet. Es beginnt mit einer an Beethoven erinnernden Deklamation; und in der Tat finden sich das ganze Stück hindurch Anklänge an verschiedene Werke Beethovens, vor allem an die „Appassionata“. Eine Anzahl von Themen wird in schneller Folge vorgestellt, bevor der feurige Einsatz des Klaviers dessen eigene Behandlung dieser Motive einleitet, darunter ab 2'55'' eine bezaubernde Passage, bei der die Melodie in der linken Hand von Leggiero-Sexten und Tonrepetitionen in der rechten umspielt wird. Ein melancholisches Thema in f-Moll wird vom Solo-Cello vorgetragen (von ferne an Berlioz’s Orchestrierung von Webers Aufforderung zum Tanz erinnernd), das schließlich abgelöst wird von einigen pianistisch anspruchsvollen (con fuoco) Abschnitten vor der Rückkehr zum Anfangsthema, jetzt in f-Moll. Anstelle des Cellos leitet nun das Horn (begleitet vom Cello) die Wiederholung des schmerzlichen Themas ein in der Grundtonart des Werkes, in der wir, die Ziellinie vor Augen, weitgehend verbleiben.

aus dem Begleittext von Jeremy Nicholas © 2013
Deutsch: Ludwig Madlener

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