Other Sellers on Amazon
+ $3.99 shipping
+ $3.99 shipping
Concerto for Piano and Orchestra
|Price:||& FREE Shipping|
|Listen Now with Amazon Music|
Hans Gál Concerto for Piano and Orchestra, Mozart Piano Concerto No. 22, K. 482
|Amazon Music Unlimited|
|New from||Used from|
Bringing to light another of Hans Gál s gorgeously melodic and finely crafted scores, AVIE presents the world premiere recording of the Austrian émigré s Concerto for Piano and Orchestra with English pianist Sarah Beth Briggs supported by Gál aficionado Kenneth Woods conducting the Royal Northern Sinfonia. Written in 1948, Gál s large-scale romantic concerto abounds with sweeping phrases and pyrotechnics, yet at the heart of the piece lies the composer s signature clarity and precision, making the work an ideal coupling for his 18th century Viennese compatriot Mozart s great E-flat major concerto of 1785.
Hats off to conductor Kenneth Woods [for] making a case for Gál s elegantly built orchestral pieces ... Here s hoping this is the beginning of a substantial Gál revival. --NPR, All Things Considered
- Product Dimensions : 5.63 x 5 x 0.43 inches; 4.37 Ounces
- Manufacturer : Avie
- Original Release Date : 2016
- Date First Available : March 10, 2016
- Label : Avie
- ASIN : B01C4HDPB2
- Number of discs : 1
- Best Sellers Rank: #442,167 in CDs & Vinyl (See Top 100 in CDs & Vinyl)
- Customer Reviews:
Top review from the United States
There was a problem filtering reviews right now. Please try again later.
Gal wrote his piano concerto in 1948, well into the modern era of classical music. Yet with its lush melodies the score has its feet set firmly in the Romantic period, leading many critics of the time to view Gal as rather old-fashioned. Today's audience may be ready for a return to the more tuneful music of yesteryear, and, thus, we may be hearing more from composers who value entertaining but creative harmonies over experimental dissonance. Who knows? I generalize. What we have in Gal's work is highly accessible and easy to like. That's my main point, no matter what one's opinion of Romantic vs. modern classical music.
Of less question are the talent, discipline, energy, and enthusiasm of the music makers. Ms. Briggs's pianism is both dexterous and impish, capturing the airy, evocative atmosphere of Gay's music as well as its often humorous interludes. The central Adagio is especially wistful and sweet. Moreover, Maestro Woods appears every bit the old hand at Gay's scores, offering a solid, sympathetic accompaniment that complements but never overshadows Ms. Briggs's playing. Together, they make a good case for modern listeners appreciating Gay's ideas more than ever.
Attending the Gal piece we get Mozart's Piano Concerto No. 22, which may seem an odd coupling until you realize that several previous Gal albums also combined his music with that of past masters. Here, the booklet note tries to explain the relationship between Gal's music and Mozart's, but I didn't find the argument entirely convincing. I would have liked hearing Gal's piano concertina, instead.
In any case, Woods's direction in the Mozart is happy, sprightly, and dignified at the same time. When after a lengthy introduction the piano enters, it comes as no surprise that Ms. Briggs matches Woods's ardor, although to a somewhat more-subdued degree. Nevertheless, it's one of the better readings of this work you'll find, filled with subtlety, grace, wit, elegance, and grandeur. Even if I would have preferred a bit more spirited abandon in the delicious closing Allegro, performed a bit low-key, it still sounds radiant.
Simon Fox-Gal, the grandson of Hans Gal, recorded, produced, engineered, and edited the present album, making it in Hall One, Sage Gateshead, England in January 2016. The piano is a little close for my liking, stretching too far from left to right across the stage. Otherwise, the sonics sound balanced, clear, well focused, and mildly resonant. There is also a fine sense of front-to-back depth to the orchestra, which together with a wide dynamic range and strong impact provides a realistic presentation.
John J. Puccio
Top reviews from other countries
For me, the highlight of the disc is the cadenzas in the Mozart. Matthews certainly knew his Mozart and Sarah Beth Briggs playing is very good, she manages to achieve a sharp attack when necessary and not too much legato. An excellent achievement!
However, the ONLY reason I would return to listening to this disc is to experience the cadenza's in the Mozart... they are exceptional little gems.
If you love your Mozart, I recommend that you buy this disc for the cadenzas sake.... yes, I know... only a few minutes of music... but, a few minutes worth the price of the disc... you are not going to find such playing of these cadenzas again... they are treasures.