Album insights
What is a "romantic piano concerto"? Asking that question opens a Pandora's box of follow-up questions. Classical music can exhibit romantic traits, and vice versa. The term "romantic" can be quite broad and diverse, often laden with extramusical connotations. For instance, Rachmaninoff's recovery from depression through hypnosis and the subsequent composition of his Second Piano Concerto. Tchaikovsky's First Piano Concerto initially condemned as vulgar and unplayable, later revered as the "greatest battle between piano and orchestra" and the most popular solo concerto ever.
In general, romantic piano concertos blend virtuosic thrills with high technical demands. While Hummel or Scharwenka's concertos promised musical acrobatics, Brahms' romantic concertos leaned towards weighty and intimidating piano parts. The romantic era's flamboyance faced sharp criticism from composers like Debussy and Fauré. However, composers like Rheinberger and Scholz brought an intriguing mix of classical restraint and innovative thought to their works, striving for depth over pure entertainment value.
Rheinberger, a child prodigy, composed with influences from Bach to Brahms, challenging the notion of the term "romantic." His A-flat major piano concerto blends traditional and captivating elements, revealing new facets with each listen. The concerto's robust opening sets a grand musical scale akin to Beethoven's concertos. The quasi-fugal movement embodies a purely musical statement, while the finale transitions from energetic allegro to a tranquil oasis before soaring back to grandeur at the end.
Scholz's concerto, influenced by Brahms, showcases weighty gestures over melodious elegance. Despite virtuosic displays reminiscent of Mendelssohn, his work boasts substance and gravitas. The second movement introduces a somber tone akin to Schumann, eventually leading to a serene conclusion. Scholz's style carries a unique imprint, evident in his serious yet engaging compositions.
Lastly, the Capriccio for Piano and Orchestra, op. 35, offers playful arpeggios and lively themes reminiscent of Mendelssohn's energy. Its cheerful, dance-like rhythms invite joy and light-heartedness, culminating in a brief, satisfying conclusion that ties all musical threads together.