{"product_id":"ferguson-gerhard-rowley-darnton-piano-concertos","title":"FERGUSON \/ GERHARD \/ ROWLEY \/ DARNTON: Piano Concertos","description":"For those of us who                   have learnt to play the piano over the                   last half century the name of Alec Rowley                   will be extremely familiar. Even today                   when I visit the secondhand music shops                   in Kelvinside and Fishergate in Glasgow                   and York, I am amazed at the number                   of volumes of this composer that are                   always available. I have managed to                   build a small collection of his easier                   pieces. I doubt that there is much in                   print these days, but historically there                   are reams of miniatures and teaching                   pieces available to the interested explorer                   and collector. I did not realise until                   quite recently that Mr Rowley did have                   a serious side to him - that is until                   I inherited an album of organ works.                   None of these are for neophytes and                   all of them seem to be interesting examples                   of the ’tween-the-wars genre. However                   I will always remember him for two salon                   pieces – \u003ci\u003eWitchery\u003c\/i\u003e and \u003ci\u003eHornpipe\u003c\/i\u003e                   – both for piano. I still play these                   at least once a month!                 \u003cp align=\"JUSTIFY\"\u003e                 \u003c\/p\u003e\u003cp align=\"JUSTIFY\"\u003eI have long known about                   the \u003ci\u003eConcerto in D major\u003c\/i\u003e and have                   plonked my way through the score. However,                   until this present release I had never                   heard it. And what a pleasure it is.                   I will state my case – I love the work                   – it is a fine discovery and deserves                   its place in the repertoire.                 \u003c\/p\u003e\u003cp align=\"JUSTIFY\"\u003e                 \u003c\/p\u003e\u003cp align=\"JUSTIFY\"\u003eThe work received its                   premiere in a BBC broadcast way back                   in 1938. The work is scored for soloist                   and strings; however there are optional                   parts for timpani and percussion. This                   is the version recorded here. From the                   very first note we are in the presence                   of a delightful work. Forget anyone                   who says that it relies heavily on Delius                   or Britten or Cyril Scott. This is an                   original concerto that is well scored                   and has ‘a breezy, open-air freshness                   about it’ that is both charming and                   satisfying. The work is well constructed,                   with the opening of the last movement                   mirroring the introduction to the first.                   My only criticism is that this concerto                   is too short! But Naxos and Mr Donohoe                   please note, there \u003ci\u003eis \u003c\/i\u003eanother                   \u003ci\u003ePiano Concerto\u003c\/i\u003e and \u003ci\u003eThree Idylls                   for Piano and Orchestra\u003c\/i\u003e just begging                   to be recorded!                 \u003c\/p\u003e\u003cp align=\"JUSTIFY\"\u003e                 \u003c\/p\u003e\u003cp align=\"JUSTIFY\"\u003eChristian Darnton is                   an unknown quantity to me and I imagine                   for many other listeners as well. However                   the \u003ci\u003ePiano Concerto in C Major\u003c\/i\u003e                   is a fine example of the genre. It was                   composed in 1948 for the South African                   pianist Adolf Hallis. In fact the work                   was premiered in Durban the following                   year.                 \u003c\/p\u003e\u003cp align=\"JUSTIFY\"\u003e                 \u003c\/p\u003e\u003cp align=\"JUSTIFY\"\u003eIt is quite a short                   work and this is perhaps its one fault.                   There seems to be a little bit of a                   stylistic imbalance between quite ‘elegant’                   and sometimes even ‘dreamy’ music and                   the harder edged neo-classicism of Stravinsky.                   For example the first movement vacillates                   between these two contrasting styles                   and the disparity is too great for good                   balance. That being said there is much                   that is attractive about this work.                   Once again the contrasts in the middle                   movement are quite extreme. There is                   a whiff of Britten about the outer sections                   whilst the middle section nods to the                   \u003ci\u003eWarsaw Concerto\u003c\/i\u003e in its ‘heart                   on sleeve’ romanticism.                 \u003c\/p\u003e\u003cp align=\"JUSTIFY\"\u003e                 \u003c\/p\u003e\u003cp align=\"JUSTIFY\"\u003eThe finale is a good                   example of neo-classical fun. There                   are moments when Malcolm Arnold seems                   about to break through. However the                   entire movement is well wrought and                   is quite exciting.                 \u003c\/p\u003e\u003cp align=\"JUSTIFY\"\u003e                 \u003c\/p\u003e\u003cp align=\"JUSTIFY\"\u003eI reiterate my comment                   that this work is far too short. There                   is a wealth of interesting material                   that could have been developed into                   a major work.                 \u003c\/p\u003e\u003cp align=\"JUSTIFY\"\u003e                 \u003c\/p\u003e\u003cp align=\"JUSTIFY\"\u003eHowever, I do hope                   that Naxos will issue some more music                   by this obviously talented composer,                   for example any one of the four symphonies.                 \u003c\/p\u003e\u003cp align=\"JUSTIFY\"\u003e                 \u003c\/p\u003e\u003cp align=\"JUSTIFY\"\u003eThe Roberto Gerhard                   \u003ci\u003eConcerto for Piano and Strings\u003c\/i\u003e                   is the antithesis of the Darnton. It                   is slightly later, having been composed                   in 1951 (the CD cover states 1961 as                   the date of composition) for the Aldeburgh                   Festival. It is the first of Gerhard’s                   works to be written using serial techniques.                   Yet continuity with the past is introduced                   as the composer gives a renaissance                   musical title to each movement. The                   first being \u003ci\u003eTiento \u003c\/i\u003ewhich is Spanish                   for ‘toccata,’ the second is \u003ci\u003eDiferencias                   \u003c\/i\u003ewhich is loosely translated as ‘variations’                   and the last movement is inscribed \u003ci\u003eFolias                   \u003c\/i\u003ewhich means ‘fantasy.’                 \u003c\/p\u003e\u003cp align=\"JUSTIFY\"\u003e                 \u003c\/p\u003e\u003cp align=\"JUSTIFY\"\u003eGerhard uses the serial                   technique with subtlety. We are never                   conscious that the work is being controlled                   by a pre-defined sequence of notes.                   However its unity is never in doubt.                   This is an extremely well-balanced and                   nuanced piece that is totally consistent                   with itself from the very first note                   to the last. Harmonically there is none                   of the astringency of Webern and his                   followers; in fact it is difficult to                   pin the concerto down to a style or                   period. This is quite definitely a work                   that is infused with the moods of Spain.                   However do not look for Spanish Dances                   – the ethos is derived from darker aspects                   of Iberian culture.                 \u003c\/p\u003e\u003cp align=\"JUSTIFY\"\u003e                 \u003c\/p\u003e\u003cp align=\"JUSTIFY\"\u003eThere are two things                   to say about Howard Ferguson. Firstly,                   he wrote too little! It is always a                   great disappointment to me that Ferguson                   gave up composing in the early 1950s;                   he reckoned that he had said all he                   wanted to say! Of course the listener’s                   loss is the student and performer’s                   gain as most of the rest of his life                   was spent in editing early music and                   teaching material. The second thing                   is that every piece that Ferguson wrote                   is near perfect and commands our attention.                   There is nothing that does not deserve                   to be permanently in the repertoire.                 \u003c\/p\u003e\u003cp align=\"JUSTIFY\"\u003e                 \u003c\/p\u003e\u003cp align=\"JUSTIFY\"\u003eThe Piano Concerto                   is a case in point. I have no doubt                   that if this work was by a Polish or                   German composer it would be in the public                   domain. As it stands I imagine that                   it is well known to a handful of British                   music enthusiasts. Yet what a great                   and wonderful work it is. It is not                   really necessary to try making comparisons.                   I do not agree with Andrew Burn’s notes                   that it nods to Mozart. What we have                   is a beautifully composed piece that                   throws introspection and an extrovert,                   almost ‘puckish’ feel into contrast,                   yet manages to give a satisfying sense                   of completeness. Of course the heart                   of the work is the reflective ‘Theme                   and Variations’ – this movement is quite                   bitter-sweet and stays in the mind long                   after the last note plays. The last                   movement, an \u003ci\u003eAllegro giovale\u003c\/i\u003e,                   is a tour de force. However there are                   some quieter, more introverted moments                   and there is a reprise of the slow movement                   ‘tune’ towards the end. But this is                   positive, uplifting music that is a                   joy and pleasure and a privilege to                   listen to.                 \u003c\/p\u003e\u003cp align=\"JUSTIFY\"\u003e                 \u003c\/p\u003e\u003cp align=\"JUSTIFY\"\u003eThe sound quality is                   great. The playing is second to none.                   The programme notes could have been                   a bit more fulsome. The programme itself                   is well thought out and repays repeated                   hearings. All credit must go to Peter                   Donohoe and his British Piano Concerto                   Foundation.                 \u003c\/p\u003e\u003cp align=\"JUSTIFY\"\u003e                 \u003c\/p\u003e\u003cp align=\"JUSTIFY\"\u003eNow a personal plea.                   Mr Donohoe, if you read this please                   can you consider one or two or more                   of the following for your next batch                   of releases in this great series – the                   piano concertos by William Baines, York                   Bowen, Rosalind Ellicott and Walford                   Davies. But whatever you choose please                   keep them coming and concentrate on                   those works that are not otherwise available!                 \u003c\/p\u003e\u003cp align=\"JUSTIFY\"\u003e-- John France, MusicWeb International\u003c\/p\u003e","brand":"Naxos","offers":[{"title":"CD","offer_id":49682316329240,"sku":"747313229024","price":19.99,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0687\/4346\/3192\/files\/705125_4b119b6f-5237-4758-ae50-593a1fa6af97.jpg?v=1777573133","url":"https:\/\/hbdirect.com\/products\/ferguson-gerhard-rowley-darnton-piano-concertos","provider":"HBDirect","version":"1.0","type":"link"}