Huss’s Piano Concerto and Schelling’s Suite Fantastique: Ian Hobson’s Captivating Journey with BBC Scottish Symphony Orchestra

Composer: Henry Holden HUSS (1862-1953), Ernest SCHELLING (1876-1939)
Works: Piano Concerto in B major Op. 10 (1898), Suite Fantastique Op. 7 (1905)
Performers: Ian Hobson (piano), BBC Scottish Symphony Orchestra/Martyn Brabbins
Recording: 9-10 Jan 1997, The Romantic Piano Concerto series Vol. No. 16
Label: HYPERION

The pairing of Huss and Schelling in this recording presents a fascinating intersection of late-Romantic idioms that deserve renewed attention. Huss, a composer often overshadowed by his contemporaries, captures the essence of 19th-century Romanticism in his Piano Concerto in B major, a work imbued with lyrical melodies and rich orchestration. Written in 1898, it reflects the burgeoning influences of both Germanic and French traditions, showcasing Huss’s ability to synthesize these styles into a coherent and evocative musical language. Schelling’s Suite Fantastique, composed in 1905, further complements this exploration with its impressionistic textures and intricate pianistic demands, providing a vivid showcase of early 20th-century aesthetic shifts.

Ian Hobson’s interpretation of Huss’s concerto is marked by an impressive command of the piano’s expressive potential. His execution of the opening Allegro is both robust and sensitive, navigating the piece’s sweeping thematic material with a dynamic range that illuminates its emotional contours. The lush orchestration of the BBC Scottish Symphony Orchestra under Martyn Brabbins enhances the piano’s voice, with a blend that is both supportive and vibrant. Notably, during the second movement, Andante, Hobson’s delicate phrasing showcases his nuanced understanding of the work’s romantic ethos, allowing the lyrical lines to sing effortlessly above the orchestral backdrop. The interplay between the piano and orchestra is particularly effective in the third movement, where Hobson’s agility in the rapid passages juxtaposes beautifully with the broader orchestral gestures.

Schelling’s Suite Fantastique is another standout in this recording, revealing Hobson’s versatility as a pianist. The suite’s opening movement, Prelude, is a fine example of Schelling’s impressionistic leanings, with shimmering textures that Hobson navigates skillfully. His touch is light yet incisive, capturing the ethereal quality of the music without losing clarity. The contrasting movements of the suite allow Hobson to showcase a variety of techniques, from the virtuosic demands of the Scherzo to the lyrical expressiveness found in the Nocturne. Throughout, the engineering quality of the Hyperion recording is pristine, allowing for a detailed sonic experience that highlights the intricate interplay between piano and orchestra.

In comparison to other notable recordings of Huss’s works, this interpretation stands out for its attention to detail and the seamless cohesion between the soloist and the orchestra. While some recordings may lean heavily on either the virtuosity of the pianist or the orchestral colors, this performance achieves a commendable balance. The recording’s clarity ensures that each note is articulated with precision, enabling listeners to appreciate the subtleties of both Huss’s and Schelling’s compositions.

This recording not only revitalizes interest in two underrepresented composers but also showcases Ian Hobson as a pianist of exceptional skill and interpretative depth. The thoughtful programming and impressive execution make it a significant addition to the Romantic Piano Concerto series, revealing the rich textures and emotional landscapes of Huss and Schelling. It serves as an eloquent reminder of the lasting power of late-Romantic and early-20th-century music, urging listeners to delve deeper into the repertoire.

Tom Fasano has been writing reviews of classical music recordings for the past quarter century. He's finally making them public on this blog.