℗ 2013 Hyperion Records Limited
Released | January 12, 2024 |
Originated | September 1, 2013 |
Duration | 56m 05s |
Record Label | Hyperion |
Genre | Classical |
Döhler & Dreyschock: Piano Concertos (Hyperion Romantic Piano Concerto 61)
Howard Shelley
Available in 96 kHz / 24-bit AIFF, FLAC high resolution audio formats
Piano Concerto in A Major, Op. 7
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1.1
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I. Maestoso
Theodor Döhler; Howard Shelley |
13:44 | |||
1.2
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II. Adagio
Theodor Döhler; Howard Shelley |
4:09 | |||
1.3
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III. Allegretto
Theodor Döhler; Howard Shelley |
10:35 | |||
1.4
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Morceau de concert in C Minor, Op. 27
Alexander Dreyschock; Howard Shelley |
16:42 | |||
Salut à Vienne "Rondo brillant", Op. 32
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1.5
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I. Introduzione – Tempo di marcia –
Alexander Dreyschock; Howard Shelley |
4:17 | |||
1.6
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II. Rondo. Allegro con moto
Alexander Dreyschock; Howard Shelley |
6:38 | |||
Digital Booklet
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"These works offer a fascinating backdrop to the greatest masterpieces of the age. And you couldn't imagine a finer advocate than Howard Shelley, who is not only palpably committed to the cause (enthusing the Tasmanian Symphony Orchestra in the process) but who has both the dexterity and the musicality to make the best possible case for this music. Mention should be made, too, of the entertaining and informative notes by Jeremy Nicholas."
- Gramophone
The Romantic Piano Concerto series reaches Volume 61, and continues to probe into the obscurest depths of the nineteenth-century piano world. Döhler’s Piano Concerto in A major and Dreyschock’s Salut à Vienne are both first recordings. The two composer-pianists were contemporaries, both child prodigies and both hugely admired in their day. Today their names are not even faintly familiar to concert-goers.
Döhler’s Concerto is pure entertainment: a lavishly ornamented virtuoso confection that requires a high-wire act from the soloist from start to finish. Dreyschock’s Morceau de concert, Op 27, is dedicated to the Philharmonic Society of London. It opens with a Beethovenian declamation—and indeed throughout the piece there are allusions to several Beethoven works, notably the ‘Appassionata’ Sonata. Salut à Vienne is a lighthearted but highly effective showpiece.
These all-but-forgotten works live again through the stylish artistry and technical brilliance of Howard Shelley, who is both soloist and conductor of his long-term collaborators, the Tasmanian Symphony Orchestra.
96 kHz / 24-bit PCM – Hyperion Studio Masters
Track title | Peak (dB FS) | RMS (dB FS) | LUFS (integrated) | DR | |
Album average Range of values | -4.47 -8.23 to -0.30 | -26.41 -29.21 to -24.21 | -23.33 -25.90 to -21.00 | 14 12 to 16 | |
1 | I. Maestoso | -2.85 | -24.99 | -21.8 | 14 |
2 | II. Adagio | -6.22 | -29.21 | -25.9 | 13 |
3 | III. Allegretto | -2.65 | -25.32 | -22.2 | 14 |
4 | Morceau de concert in C Minor, Op. 27 | -0.30 | -24.21 | -21.0 | 16 |
5 | I. Introduzione – Tempo di marcia – | -8.23 | -28.15 | -25.4 | 13 |
6 | II. Rondo. Allegro con moto | -6.59 | -26.55 | -23.7 | 12 |