Customer Reviews

The Romantic Piano Concerto, Vol. 23- Holbrooke: The Song of Gwyn ap Nudd / Wood: Concerto in D minor for Piano & Orchestra

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Hyperion's encyclopedic survey of The Romantic Piano Concerto has now reached Volume 23, pairing up two British concerti from the early part of the twentieth century. Joseph Holbrooke (1878-1958) mined Celtic, particularly Welsh, folklore for many of his scores. (His other favorite inspiration was Edgar Allan Poe.) The thirty-six minute Piano Concerto No. 1 "The Song of Gwyn Ap Nudd" Opus 52 (1910) is as much a Lisztian tone-poem with an elaborate program taken from the same bit of Cymric myth that yielded Shakespeare his King Lear as it is a display-work for soloist and orchestra, although it is that too. Critics in Holbrooke's own day as in our own complained that Holbrooke, while long on atmosphere, is short on memorable melody. This detracts from enjoyment much more in the concert hall than it does on disc. Two or three hearings are sufficient to inscribe most of the concerto's thematic material on one's memory, and Holbrooke provides enough musical "action" to make up for the deficiency. The musical language lies somewhere between Liszt and Wagner, influenced in its color by the Russian school. (Make no mistake, Holbrooke is a superb orchestrator.) On the basis of this, I would very much like to hear Holbrooke's other concerti, the ones for violin, for cello, and even for saxophone. Haydn Wood (1882-1959) later made his mark as a supplier of endless "light music." His Concerto in D-Minor for Piano and Orchestra (1909) is a far more orthodox affair than Holbrooke's glittering wayward Opus 52. You might fairly call Haydn's entry a Tschaikovsky Concerto written by an Englishman. It is pleasant and obviously the work of someone in complete control of his art. Hamish Milne, the pianist, is kept busy in both instances. Martyn Brabbins and the BBC Scottish Symphony operate with efficiency and aplomb. Buy this one for the Holbrooke concerto and consider the Wood concerto a worthwhile bonus.

This CD is worth acquiring for the Wood concerto alone. Although no more harmonically advanced than Brahms, the piece has amazing sweep and power, especially the last movement. Wood can write a long-breathed melody in the manner of the great Romantic masters, but it is not just a mere imitation. His style has a base in Brahms, with touches of Saint-Saens, Schumann, and even a bit of John Ireland!
The Holbrooke is a bit episodic, and not as "tight" as the Wood concerto. Nevertheless, there are some compelling moments from time to time, particularly in the central section. This piece doesn't quite hold together as well as the Wood, although is pleasant to listen to.
Both orchestra and pianist play brilliantly, and the recording is natural-no overmiking here. If you can get this used, in particular, I would snatch it up!