Its confidence subsides into more anxious subsidiary ideas before increasing rhythmic energy and bravura solo-writing propel us into the development section. The soloist for whom it was written, Joseph Hollman, was an energetic, muscular player and Saint-Saëns seems here to turn his back on the suave style of the first concerto. The Hyperion series "The Romantic Cello Concerto" reaches Volume 6 with this album that pairs the two cello concerti of Henry Vieuxtemps with two shorter cello concertante works by his pupil Eugene Ysa e. Vieuxtemps completed his Concerto No. We have now placed Twitpic in an archived state. From 1861 to 1890 Dietrich was musical director at the court of Oldenburg, where Brahms was often a guest and where he introduced many of Brahms’s works: he was also instrumental in arranging the premiere of Brahms’s Ein deutsches Requiem in Bremen in 1868. Also see their series' exploring the Romantic violin concerto, the Romantic cello concerto, and the Classical piano concerto. It is the light airiness of Natalie Clein's approach that works so well here...she finds a golden timbre and fleet elegance, matched by Andrew Manze and the effervescent BBC Scottish forces. Dear Twitpic Community - thank you for all the wonderful photos you have taken over the years. He completed his musical education in Paris, where he also made a name for himself as a pianist, and later taught at the Cologne Conservatory, where he benefitted from the patronage of Ferdinand Hiller and also conducted one of the earliest performances of Brahms’s Ein deutsches Requiem. Friedrich Gernsheim, born to a prominent Jewish family in Worms, studied in his home town with Louis Liebe (a pupil of Spohr) and later in Leipzig with Moscheles and Ferdinand David. The happily chosen compilation responds well to Alban Gerhardt’s rich tone, too“ (Fono Forum, Germany), „Alban Gerhardt, one of the most inquisitive, versatile and, above all, best cello virtuosos of our times has now recorded a second CD with romantic works for his instrument. The cello, cantabile, takes the lead throughout this ardently lyrical episode, with an outpouring of long, shapely melody. Le Symphonique de Radio Berlin, dirigé par Hannu Lintu, lui donne l'exacte réplique qu'un tel instrumentiste est en droit d'attendre» (Classica, France), „After the splendid start made by the Hyperion Series with Romantic cello concerti, the second album turns out to be a treasure-box as well. With series devoted to the piano, violin, and viola already in progress, their attention now turns to the cello. Though once seen as a standard-bearer for the ‘Music of the Future’, Volkmann’s instincts proved to be more conservative and most of his works are in the Classical genres. The Romantic Violin Concerto series reaches Belgium and the music of Joseph Jongen, a composer more celebrated for his organ music now, but who was equally admired in his day for his orchestral and chamber works. It was in Düsseldorf that Brahms met Dietrich, and they became lifelong friends: almost immediately Schumann, Dietrich and Brahms collaborated in composing a violin sonata for the violinist Joseph Joachim. He spent some years conducting in Holland, where he introduced several of Brahms’s works, and taught in Berlin at the Stern Conservatory and the Academy of Arts. The accompaniment of the Berlin Radio Symphony Orchestra under Hannu Lintu is very emphatic. Hyperion's ongoing series exploring the Romantic piano concerto is the most thorough to date in seeking out and uncovering lost musical gems from this important period. Clein first came to prominence when she won the BBC Young Musician of the Year award in 1994; it is appropriate that she performs the music of an extraordinary child prodigy. Hyperion apparently is looking to do for the cello what it has done for the piano in the series of recordings called "The Romantic Piano Concerto", namely revive neglected works for cello and orchestra under the separate series "The Romantic Cello Concerto". Folge der HYPERION-Serie »Das romantische Klavierkonzert« führt uns zu unseren nordwestlichen Nachbarn. this Hyperion programme has much going for it, not least in that it features the mature, sensitive artistry of Natalie Clein. Hyperion's Romantic Cello Concerto series continues to bring new works to light, expanding a repertoire that has long focused on a select group of composers. In the course of this the first subject is heard on the horn, in keys (such as F sharp minor) distant enough to have been hazardous had Schumann not known he could rely on the comparatively recently introduced valve horn. All rights reserved. Her spirit in this music is matched by that of the BBC Scottish Symphony Orchestra under Andrew Manze, with passion, reflectiveness, architectural sweep and refinement in phrasing and dynamic colouring all finding common ground. Like the Schumann concerto it is designated as being ‘with orchestral accompaniment’ and other resemblances include the tonal scheme, with the first movement’s minor tonality changing to major in the finale, with a lyric song-like slow movement intervening in the submediant major; the lack of a cadenza in the first movement; and the position of the culminating cadenza in the finale, which like Schumann’s is a march-like piece in 2/4 time. Hyperion’s Romantic Cello Concerto series continues to bring new works into a repertoire currently dominated by Dvorák and Elgar. The finale is a relaxed sonata-allegro in G major with an energetic main subject and a generously lyrical second one; in between, the staccato woodwind of its transition seem to be alluding to the finale of Schumann’s ‘Rhenish’ Symphony. On this voyage of discovery Alban Gerhardt again proves to be a skilled storyteller and a superb musical cicerone … a showpiece for collectors, and proof of the intelligence and far-sightedness of a cellist who combines virtuosity and content with a touch of genius … on the CD, The Romantic Cello Concerto, Gerhard couples it with the Gernsheim concerto and the also forgotten cello concerti of Brahms’ contemporaries Albert Dietrich and Robert Volkmann. Three introductory wind chords (themselves delineating an important motif) are all the preparation necessary for the soloist’s superb first-subject melody, an archetypal flight of romantic fancy, at once ardent and melancholic. A short transition moves briskly to the dominant and the warmth of the second subject, which begins with a marvellously singing tune announced first by the orchestra in canon before being taken up and elaborated by the cello. After a promising beginning in the later eighteenth century at the hands of such masters as Haydn and Boccherini, the cello concerto as a genre languished for many decades. Marked Animato, ma non troppo, this ‘finale section’ is largely based on the quicker second group of themes from the ‘first-movement section’, especially the ardent con fuoco tune. Praised for his ‘passion and sensitivity’ by the BBC Music Magazine for his recording of the concertos by Dohnányi, Enescu & d’Albert (volume 1, see below), Alban now turns his attention to works by … Alban Gerhardt performs the three concertos by Hans Pfitzner, a composer remembered most for his opera Palestrina. Cello Concerto in A minor, Op. 151 Followers, 83 Following, 91 Posts - See Instagram photos and videos from ㈱アシストエンジニア (@assist_now) Now, to the Schumann work, he has added three others that were composed in the circle around Schumann and Brahms … Volkmann’s virtuoso a-minor concerto, in its key and single-movement form, reminds one, rather distantly, of Schumann’s both familiar and alienating miracle in sound  … the concerto in C minor by Gernsheim was published in 1907. Romantic Cello Concerto Romantic Piano Concerto Romantic Violin Concerto Hans Rosbaud – The SWR Recordings Royal Philharmonic SACD-Edition Sony Classical MASTERS Sony Classical MASTERS-Boxen Sony Classical Originals Sony – Die besten guten Klassik-CDs Hyperion’s Record of the Month for February sees the welcome return of German cellist Alban Gerhardt with the second volume in Hyperion’s Romantic Cello Concerto series. But it comes with three rarities … these are lovely, lister-friendly pieces: immediate, warm and lyrical, full of emotional and orchestral colour … they're all a delight. I can only look forward to Volume 3’ (International Record Review), ‘Alban Gerhardt is no lofty aristocrat of the cello. He realises the works of Brahms’s three friends with vital virtuosity and an intensity of playing that raises them to pieces of a high rank. Also, from the 1850s Brahms was on friendly terms with Volkmann, whose music—including his Cello Concerto—he admired. 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