Album insights
During Mozart and Beethoven's era, instrumental musicians mainly showcased their own works in solo concerts, where the performer's talent, technique, and expressiveness significantly influenced the composer's handling of form and melodic beauty. In the 19th century, this balance shifted towards favoring the performer, with composers and performers rarely being the same individuals. Critics disapproved of this trend, notably Robert Schumann, whose piano concerto served as a counterpoint to this practice.
The emphasis on virtuosity became evident in piano concertos, with technological advancements enhancing the instrument's brilliance and thrilling audiences. Liszt epitomized the piano hero, much like Paganini did for the violin. While Beethoven's concertos remained the pinnacle of the genre, reflecting innovations that inspired many lesser composers, the Romantic aesthetics of piano concertos showcased a competition between the heroic soloist and the expanding, louder orchestra.
The popularity of piano concertos, especially in Victorian London, featured a mix of orchestral programs, often highlighting continental virtuosos. Julius Benedict, a German composer, settled in London after his European training, finding unique performance and publishing opportunities in the city. Benedict's career drew similarities to Handel's, evolving from Italian operatic influences to catering to English tastes, culminating in successful works like "The Lily of Killarney."
Benedict's concertos, particularly the opening movements, paid homage to classical influences while integrating innovations reminiscent of Beethoven, like modulating to parallel keys and placing cadenzas unexpectedly. His compositions, lauded by critics, combined elements of surprise, tempo or key shifts, and touches of humor, possibly borrowed from Rossini.
In the Piano Concerto in C minor, Op. 45, the concerto began with a tense, Mozarteque-themed orchestral tutti, evolving into distant tonalities and showcasing melodic complexities. The following movements, Andante pastorale, and Finale (Allegro con spirito), offered progression through tonal shifts, thematic developments, and rhythmic variations, engaging listeners in a musical journey.
For the Piano Concerto in E-flat major, Op. 89, the first movement adhered more closely to classical forms, featuring imposing tutti sections and showcasing virtuosic piano performances. The subsequent movements revealed structured sonata forms intertwined with flashes of artistic unpredictability and thematic revisitations, resulting in dynamic and satisfying musical resolutions.
Walter Macfarren, a notable figure in Victorian music, composed lyrical and melodious piano pieces, inspired by Mendelssohn. His Concertstück, dedicated to his student Nanette Kuhe, embraced dark and uplifting motifs, leading listeners through rich orchestrations and engaging piano dialogues, culminating in powerful climaxes.
Acknowledgements to Christina Bashford, Therese Ellsworth, and Michael Spring were expressed for their valuable research contributions to this essay by Nicholas Temperley in 2009.