CASTELNUOVO-TEDESCO
Piano Concertos
Alessandro
Marangoni, Piano
Malmo
Symphony / Andrew Mogrelia
Guitar-fanciers will forever be in the
debt of Italian composer Mario Castelnuovo-Tedesco (1895-1968) for his light
and sparkling Guitar Concerto. His two piano concertos are virtually unknown
with pianophiles, which should not be the case. After all, he had fled fascist
Italy before the Second World War, settling in Los Angeles where he became a
prolific film composer and composition professor. His students included John
Williams, André Previn and Henry Mancini. Like Rachmaninov, his influences may
be discerned in Hollywood movie music, but unlike the brooding and melancholic
Russian, his style is far sunnier and Mediterranean in outlook.
Both Concerto
No.1 (1927) and Concerto No.2
(1936-37) are Romantically conceived, playing for a half-hour and in three
movements. The carnival-like atmosphere of the former is contrasted with the
dramatics of the latter, but both have central slow romances with an Italianate
air. The rousing tarantella that concludes No.1 and scintillating finale of
No.2 are given their due by Italian pianist-scholar Alessandro Marangoni, who makes
a convincing case of the concertos. Included as bonus are premiere recordings
of Four Dances from the unpublished Love's Labours Lost (1953), edited by
Marangoni, more light-hearted music based on the Shakespearean comedy. This is
an enjoyable disc of rarities that repays repeated listening.
ORIGINALS
AND BEYOND
Piano
Duo Takahashi Lehmann
Audite
97.706 / ****1/2
It was the standard practice in much of
the 19th century for composers to write piano transcriptions or
reductions (for two or four hands) of their orchestral works. This helped
dissemination of their music by providing study material for students and
entertainment for amateur musicians. This debut recording by the Berlin-based
piano duo of Norie Takahashi and Bjorn Lehmann showcases three such
arrangements, all of which are seldom performed in concert.
Arnold Schoenberg's Chamber Symphony
No.1, a breakthrough work scored for 15 instruments, has four hands on the
piano perfectly capture tonality in its finals legs. The jarring dissonances
come through vividly in this taut and thrilling reading. A similar
precedent had been set much earlier by Beethoven in his Grosse Fuge (Great
Fugue), originally for string quartet, which becomes ever more startlingly
modern on percussive keyboards.
The four-hands version of Robert
Schumann's Second Symphony, here receiving its premiere recording,
sounds much pared down but benefits from its transparency. The Scherzo
now comes across as a virtuoso study but the slow movement suffers a little when
it cannot luxuriate in its longeurs. The performances here are fluent and
committed, which should please the most ardent of pianophiles.
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