Customer Reviews

Edward MacDowell: Piano Concerto No. 1 in A minor; Piano Concerto No. 2 in D minor; Second Modern Suite Op 14

5 star:		(2)
4 star:		(1)
3 star:		(0)
2 star:		(1)
1 star:		(2)

 

 

I have to agree with the other reviewer. After Stephen Prutsman's fresh and lively performances of these concertos, Tanyel's came as a shock. The timings are about the same, but I see no special insights into these works. I really like her playing of the 2nd modern suite, however. There just needs to be more sparkle, and in the 1st concerto, more verve and forward motion. But even Prutsman and Tanyel cannot beat Van Cliburn in one of his most exciting performances. For a great sample of Tanyel's art, please listen to her Scharwenka concertos 2 and 3 plus his solo piano music. She finds just the right balance between gravitas and fantasy, which is just what her interpretations of the MacDowell concertos need.

I love the MacDowell Piano Concerti, though there is not a single recording of the two works that satisfy me 100%. This recording certainly doesen't come close. Tanyel plays cleanly, neatly, but with little involvement, committment, virtuoso sound or technique. The phrasing makes sense, but nothing more: there is little beauty of color, sound, shape, or personal statement. One would have expected more from the orchestra as well: the conductor's tempi (especially in the first concerti) are almost metronomic(you hear accents on the downbeat of every measure), and the light texture and slow tempi he employs works against the grain of the composer's grand conceptions of these works. The end result: a very UNSTYLISTIC rendering from soloist and orchestra.

Suggestions: The most satisfying recording to date of both Piano Concerti is Thomas Tirino's on the Centaur label. While the Bulgarian Orchestra is about a "B" class-Tirino is such a great pianist that he makes certainly the best played version of the two works ever committed to disc, hands down. His phenomenal, HUGE technique, sensitivity in sound, phrasing, subtle musicianship, and artistic statements made to these pieces are untouchable. Despite the orchestra, the conductor on his recording conducts the pieces extremely well. The Amato recording on Olympia has a magnificent sounding orchestra, but an extremely tired, awful sounding pianist. Avoid the Hahn and Watts recordings: They are DREADFUL. Eugene List's version now on CD is almost at an equal calibre of playing as Tirino's, but doesen't have any of the beauty of sound and phrasing that Tirino brings along with the technical panache. Also, the orchestra and conductor are quite horrific on List's recording. There is the famous recording of the Second Concerto by Van Cliburn (he never recorded the first concerto): but you know-Tirino plays it just as well, and at times, even better-and you get BOTH concerti! Get Tirino's recording for the two works. I would also pick up Cliburn's of the second concerto and the now available Claudette Sorel rehearsal recording of the second concerto for reference. They are the only other two pianists really in Tirino's league.

If you're into hidebound interpretations coupled with a large dose of lethargy (poorly) camouflaged as "profound meaning," this is the recording for you.

But you don't really want that, do you? So avoid this CD at all costs.

This recording's outclassed just about everywhere -- even by ones that are priced significantly lower than Hyperion's premium import cost. In Concerto #1, you can do much better with Eugene List or Stephen Prutsman. Plus I've heard Thomas Tirino does a masterful job, too, though I haven't had the opportunity to hear his performance. In Concerto #2, there are many more readings to choose from, and you can pick any number of them and do better than this. Earl Wild is about as good as it gets in this score.

I love conductor Martyn Brabbins' musicianship, but even he can't rescue this pitiful enterprise -- a rare dud in Hyperion's otherwise exemplary Romantic Piano Concerto series.

MacDowell's piano concertos are relatively well-known, in particular the very effective and rather substantial second. That means that the performances here by Seta Tanyel and Martyn Brabbins are in for some real competition (as opposed to the majority of the releases in Hyperion's Romantic Piano Concerto series), and although these are good, often brilliant, accounts I think it is possible to wrench even more romantic drama and depth out of the second concerto in particular. The first concerto, however, is generally well done; the nimbly tuneful solo part is managed with aplomb and the orchestral accompaniment is feisty and spirited.

That said, the first concerto is not in any way a masterpiece. It is a derivative work owing a lot to Schumann, Grieg and their contemporaries. Though well written and with plenty of brilliance, it lacks any really good melodies or anything by which to really remember it. And despite my general admiration for the performance here, the last movement is definitely on the slow side (perhaps not in terms of actual tempo, but certainly in terms of feeling a little lethargic) and there could have been more contrast between the various moods of the first movement.

The second concerto is, as mentioned, a very fine work, and Tanyel is generally impressive throughout. Where this account falters a little in comparison with its rival is actually in the orchestral accompaniment, which is overall a little anodyne. The strings lack a little richness and sheen and the brass is sometimes weak-toned. Even the recorded sound is a little off-balanced and a little too close.

The Second Modern Suite for piano is a relatively substantial affair, though not at all modern even by the standards of the time at which it was written. The music is generally Schumannesque, though more energetic, even a little blustering and flurried at times. Tanyel's playing is certainy full of edgy energy and many of the passages (all of them, perhaps) are managed with brilliance and sparkle. Nevertheless the performances sometimes lack a little momentum. In short, then, these are fine and clearly more than merely serviceable performances, yet I don't think they would count as first choices for any of the works.

...- this is a most wonderful CD and both works are played superbly by Seta Tanyel. As always, the quality of the recording is well up to Hyperion's usual impeccable standards. MacDowell was a great composer without a very distinctive voice - but so what? He was German-trained and knew a thing or two about the grand style of orchestration. These concerti are tremendous works and deserve to be heard. Seta Tanyel is a superb pianist - like her compatriot Idil Biret, she deserves to be heard more widely. Take note, Hyperion!

I don't see what the other reviewers are crabbing about. This recording is as first-class as the rest of the Hyperion piano concerto series.