Sterndale Bennett During the Classical period, the piano concerto enjoyed great popularity in London, thanks in large part to musicians such as Dussek, Field, and Cramer. Pianists like Clementi, Moscheles, and Mendelssohn further enriched the European piano scene. Although British composers such as Potter and Macfarren also wrote their own piano concertos, interest waned noticeably in the 1830s. It wasn't until the 1840s, with the emergence of more technically demanding piano music, that a shift occurred, but British musical life remained largely conservative. Only a few works from this period, such as those by Benedict and Parry, reveal the influence of Sterndale Bennett.
A turning point in London's concert life came in 1869 with Cowen's Piano Concerto in A minor and the concerts at St. James's Hall, followed four years later by Stanford's Concerto in B-flat major. In the 1870s and 1880s, Dannreuther, as a composer, musician, and pianist, significantly shaped the London music scene. He introduced works by Chopin and Liszt to London, and his advocacy for Tchaikovsky's First Piano Concerto underscored his artistic importance.
Inspired by Dannreuther, Parry composed his Piano Concerto in F-sharp major, which was enthusiastically received in London in 1880. After a revision, the work enjoyed further success and reflected the Romantic currents of the era. The composition impressed with its innovative modulations and unusual structures and deserves special recognition.
Stanford's Piano Concerto in G major, also influenced by Dannreuther, brought new impetus to the genre. Although its premiere was poorly timed, the work gradually gained popularity. The composition captivated audiences with its sonata form and an expressive Adagio. Despite the lack of an official publication, Stanford's concerto remains an artistically valuable contribution.