FERDINAND HILLER: Piano Concertos Nos, 1, 2, & 3 – Howard Shelley, piano & conductor/ Tasmanian Symphony Orchestra – Hyperion CDA67655, 76:20 **** [Distr. by Harmonia mundi]:
The latest entry in Hyperion’s splendid long-running Romantic Piano Concerto series features three concertos composed by Ferdinand Hiller (1811 – 1885), a musical prodigy born in Frankfurt am Main who made his successful concert debut at the age of ten. In 1825 he moved to Weimar where he pursued his musical education under Mozart’s pupil Johann Nepomuk Hummel, then considered one of Europe’s finest composers and pianists. In October 1828 Hiller moved to Paris, where he became Cherubini’s protege, associated with Meyerbeer, Rossini, Kalkbrenner and Berlioz, and soon enjoyed a close friendship with both Liszt and Chopin. The latter two relationships appear to have been crucial to Hiller’s growth and unfolding artistry. His pristine, pianistic elegance is unthinkable without the influence of both those revolutionary composers for the piano.
The Concerto No. 1 in F minor Op. 5 was composed in Paris between 1829 and 1831. Written to display Hiller’s virtuosity, it features outer movements whose themes are written in a markedly pianistic style. Dramatic first subjects are answered by lyrical and sweet second subjects, providing a strongly rendered contrast that lifts this concerto above empty virtuosity. The middle movement, a poignant, brooding Adagio, anchors this impressive piece that belies its composer’s youth. The Piano Concerto No. 2 in F sharp minor Op. 69 is generally considered to be Hiller’s most successful work in the genre. Composed in Leipzig, where Hiller had moved in the autumn of 1843, the concerto was an immediate success when it premiered in the Gewandhaus, despite a lack of rehearsal time. This concerto has a denser musical grammar. Its first movement begins energetically with rhythmic elements that form the backbone of the piece. The arioso nature of the second subject, music of subtle beauty that functions as the source of the complex piano ornamentation, is reminiscent of Chopin. All three movements feature this careful synthesis of the percussive and the lyrical, making this tightly controlled concerto a marvel of construction.
The Piano Concerto No. 3 in A flat Major ‘Concerto espressivo’ Op. 170 premiered in March 1875 in Cologne. The longest of the three concertos, its emphasis on contrasting orchestral lyricism with the cantabile melodies of the piano extends throughout the work. The musical structure is formally complex and thematically dense. While the concerto features a splendid array of piano ornamentation, the orchestra often introduces motifs and themes that weave in and out, so that piano and orchestra intermingle as if in a helix rising gently skyward. All three movements engage in this intimate dialog, making this the most dulcet of Hiller’s concertos. One is struck by the composer’s easy mastery of the form. The music is beautifully performed by pianist/conductor Howard Shelley and the Tasmanian Symphony Orchestra. These concertos are a wonderful addition to the series. Their music is often quite lovely, with a verdant lyricism that is heightened by the frequent shimmering arabesques from the piano as it converses with the orchestra. Not as profound as concertos by Brahms or as emotionally revealing as those by Rachmaninoff, there is always room for skillfully rendered beauty. Hyperion’s sound is deep, rich and satisfying, with the piano lovingly presented and the orchestra a musically faithful partner whose dynamics are always appropriate.
– – Mike Birman
