HERZ Piano Concerto No 2
View record and artist detailsRecord and Artist Details
Composer or Director: Henri (Heinrich) Herz
Genre:
Orchestral
Label: Hyperion
Magazine Review Date: 08/2015
Media Format: CD or Download
Media Runtime: 65
Mastering:
DDD
Catalogue Number: CDA68100
Tracks:
Composition | Artist Credit |
---|---|
Piano Concerto No 2 |
Henri (Heinrich) Herz, Composer
Henri (Heinrich) Herz, Composer Howard Shelley, Piano Tasmanian Symphony Orchestra |
Grande fantaisie militaire sur La fille du régiment |
Henri (Heinrich) Herz, Composer
Henri (Heinrich) Herz, Composer Howard Shelley, Piano Tasmanian Symphony Orchestra |
Fantaisie et variations sur la marche d’Otello de Rossini |
Henri (Heinrich) Herz, Composer
Henri (Heinrich) Herz, Composer Howard Shelley, Piano Tasmanian Symphony Orchestra |
Grande Polonaise brillante |
Henri (Heinrich) Herz, Composer
Henri (Heinrich) Herz, Composer Howard Shelley, Piano Tasmanian Symphony Orchestra |
Author: Harriet Smith
Brahms it ain’t (and all the better for that, you may well think). There is a high-spirited quality to everything here: even in C minor, the key of the Second Concerto, there’s a kind of glee underlying the first orchestral tutti. But Herz could also write a gracious tune with the best of them, as witness the lyrical second idea of the concerto’s first movement or the aria-like one that opens the Andantino. And it has to be said that his writing for wind leaves Chopin’s in the shade – he evidently had a particular fondness for the oboe. If the finale is a triumph of effect over substance, it’s engaging enough when played with such élan as here.
The overblown silliness of the percussion and brass opening of the Fille du régiment Fantasy gives way to ever more hair-raising pyrotechnics as its variations progress. It ends in a mood of high campery, the triangle player and piccolo player doing overtime. And though the Fantasy on Rossini’s Otello opens in a darker mood, as befits the subject, it doesn’t stay serious for long. Shelley by turns charms and dazzles.
‘Chopin’, you might think, on hearing the Grande Polonaise brillante, but in fact – as Jeremy Nicholas points out in his predictably entertaining notes – this piece predates Chopin’s own Op 22 Grande Polonaise by several years. It’s a real charmer, especially in the hands of such astute musicians.
Unless your doctor has prescribed some strict froth-free diet (and how tedious would that be), I can heartily recommend a dose of Herz.
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