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| 1. Piano Concerto In F Sharp Major: Allegro maestoso |
| 2. Piano Concerto In F Sharp Major: Maestoso |
| 3. Piano Concerto In F Sharp Major: Allegro vivace |
| 4. Piano Concerto No 1 In G Major, Op 59: Allegro comodo |
| 5. Piano Concerto No 1 In G Major, Op 59: Adagio molto |
| 6. Piano Concerto No 1 In G Major, Op 59: Allegro e giocoso |
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Most Helpful Customer Reviews
9 of 9 people found the following review helpful:
5.0 out of 5 stars
I'd buy it again,
By John H. Pendley "retired teacher" (the beautiful mountains of north Georgia) - See all my reviews (REAL NAME)
This review is from: The Romantic Piano Concerto, Vol. 12- Parry: Piano Concerto in F sharp major / Stanford: Piano Concerto No. 1 (Audio CD)
Yes, this isn't great music, but where is it written that we must turn aside from lesser lights in the musical firmament? There are times for a Beethoven Sonata, and there are times for the pure, bubbling joy of the opening of Stanford's Concerto. I'd buy this recording again for that moment alone: it never fails to lift my spirits. But even better is the rapturous, delicate, haunting Adagio, which, if not great music, makes me believe, while I'm hearing it, that music can hardly be more lovely. Stanford, not Brahms, gets a handful of stars for that.
The Parry Concerto is a somewhat lesser work, for me at least, though most prefer it. It is thoroughly enjoyable, full of energy and beauty. Piers Lane, though gaining an audience through such recordings as this one is a mostly undiscovered wonder. If you haven't heard his Saint-Saens Etudes, you should. Martyn Brabbins and his Glasgow BBC Symphony Orchestra have this music completely in their hearts. They can be heard to equal, excellent effect on other releases in this ongoing Hyperion series. I come back to this recording fairly often. It's when I need a breath after the weight and concentration of heavier fare. I enjoy it so much that I often listen to it more than once. Everything can't be and oughtn't to be unrelentingly, overwhelmingly magnificent. It can still be more than we have reason to expect. I believe that we should accept such gifts and be thankful.
3 of 3 people found the following review helpful:
3.0 out of 5 stars
Entertaining Obscurities,
By King Gama "A highly disagreeable man" (Seattle, WA USA) - See all my reviews
This review is from: The Romantic Piano Concerto, Vol. 12- Parry: Piano Concerto in F sharp major / Stanford: Piano Concerto No. 1 (Audio CD)
I can't imagine that either of these pieces would ever become part of the standard repertory, but they are both enjoyable. The two composers Parry and Stanford are often thought of in tandem, but their styles have distinct differences. Both obviously take certain stylistic mannerisms from Brahms, but Parry also throws in a bit of Wagner as well while Stanford's music often evokes Irish folk song and myth. Parry's concerto is more adventurous in structure than Stanford's but both have a broad sweeping feeling to them. Both men were highly accomplished composers and these two pieces are by no means simple for the soloist. The orchestra acquits itself well and as usual with Hyperion releases the disk has a good warm sound to it.
2 of 2 people found the following review helpful:
4.0 out of 5 stars
Better than I would have expected,
By
This review is from: The Romantic Piano Concerto, Vol. 12- Parry: Piano Concerto in F sharp major / Stanford: Piano Concerto No. 1 (Audio CD)
Considering that Parry & Stanford were essentially starting from scratch when writing their concerti, it is surprising that these pieces are as good as they are. With virtually no symphonic or concerto tradition up which to build (unless you count John Field, dead since 1837), British composers were largely stumbling around in the dark in the 1880's and 1890's. Nonetheless, Parry & Stanford both managed to acquit themselves decently.These are not earth-shattering works, by any means. It is no accident that they have been neglected for as long as they have, but both concerti is well-crafted (particulary Parry's) and are highly listenable pieces. There is not a great amount of originality on display --- one could mistake both of these as very early works of Brahms --- but I suppose it is to be expected, considering the circumstances. Piers Lane does a fine job, although the orchestra seems a bit listless in its accompaniment. This is a nice enough CD, displaying what are in effect a couple of musical curios. Every now and then I will come across a relatively unknown composition that stuns me with its beauty & originality, but in general most of these unknown pieces leave little lasting impact. Enjoy these pretty musical confections for what they are.
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