The Hyperion Romantic Piano Concerto series

Volume 4: Arensky & Bortkiewicz Piano Concertos

Of the myriad Piano Concertos composed in the second half of the 19th century all but a handful
are forgotten. The survivors are played with a regularity that borders on the monotonous: pianists,
promoters and record companies play it safe and opt for the familiar. Even a masterpiece can
become an unwelcome guest, especially when subjected to an unremarkable outing by yet another
indifferent player, as happens so frequently today. How refreshing, then, to have the dust brushed
off forgotten specimens of 19th century piano concertos and rendered clean and polished for
inspection again. Refreshing and rewarding, for they are exactly the sort of pieces that make one
wonder why we are forced to live off such a limited concerto diet. How is it that such appealing,
well-crafted, imaginative works with their high spirits and luscious tunes could have vanished from
the repertoire? It is time for those who promote and play piano music to be more adventurous
and imaginative in their programming.
1991 Jeremy Nicholas

Anton Stepanovich Arensky

(Novgorod, July 12, 1861 - Perkijarvi, Finland, February 25, 1906)
Piano Concerto in F minor, op. 2 (1881)
I. Allegro maestoso [12:16] - II. Andante con moto [6:49]
III. Scherzo - Finale : Allegro molto [6:48]
Fantasia on Russian Folksongs, op. 48 (1899) [9:05]

Sergeij Bortkiewicz
(Kharkov, Ukraine, February 16, 1877 - Vienna, October 25, 1952)
Piano Concerto no. 1 in B flat major, op. 16 (1912)
I. Lento - Allegro deciso [16:50] - II. Andante sostenuto [6:39]
III. Molto vivace e con brio [12:14]

Stephen Coombs, piano

BBC Scottish Symphony Orchestra
Jerzy Maksymiuk

Recorded in Henry Wood Hall, Glasgow on 21, 22 August 1992

Recording engineer, Tony Faulkner. Recording producer, Andrew Keener
1993 Hyperion Records Ltd. CDA66624

At the end of his balanced and informative sleeve-note Jeremy Nicholas suggests that there must
always be a place for those like Arensky and Bortkiewicz who reflect so elegantly and expertly on
what has gone before, rather than shake us by the ears and grab us (sometimes screaming) into the
future. Thats well said (though other alternatives do suggest themselves) and pertinent to the
concertos here recorded. Anton Arenskys Op. 2 is an apprentice piece from 1881, an engaging
cocktail of Liszt, Chopin and Grieg, with echoes of Liszts E flat Concerto having the first and last
word; Sergei Bortkiewiczs Op. 16, premiered in 1912, is a true product of Russias Silver Age, the
scent of the Nicholas and Alexandra era evoked by a blend of Rachmaninov and Parsifal. All three
works are reminders of the pleasures of easy-listening music from an age before the whole concept
was hijacked by commercialism. If this is the sort of thing you like, youll surely like this sort of
thing, as they say. Both concertos fall pleasantly on the ear neither it seems to me, is destined for
concert-hall revival; both find their natural place on disc. Stephen Coombs and the BBC Scottish
pay the music the compliment of careful preparation and sensitive, wholehearted advocacy.
Hyperions balance has the piano rather backward, not allowing it to sparkle as it ideally should,
and there are times when the music seems to demand a more outsize soloistic personality.
Otherwise this is a model issue from a source which has become a byword for the best in enterprise.
Gramophone.co.uk

Stephen Coombs
A couple of piano concertos that have been waiting in the wings for the committed advocacy
they deserve and have finally received (Fanfare, USA) Coombs is an artist of great sensitivity
and effortless virtuosity, and he makes the best possible case for both (The Penguin Guide to
Compact Discs) Coombss musicianship and authority carry all before it (Piano International)
Three languages-, 16 pages-booklet in .pdf format included.
Complete details of the Romantic Piano Concerto project can be found
at the Hyperion Records website (Indexes Collections)

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Techn - The Romantic Piano Concerto, vol. 4

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