Composer: Henry Litolff
Works: Concerto Symphonique No. 3 in E flat Op. 45, Concerto Symphonique No. 5 in C minor Op. 123
Performers: Peter Donohoe (piano), BBC Scottish Symphony Orchestra (conductor: Andrew Litton)
Recording: 27-28 October 2000, Caird Hall, Dundee
Label: Hyperion
The music of Henry Litolff, though often overshadowed by his contemporaries, reveals a distinctive voice in the Romantic piano concerto repertoire. His Concerto Symphonique No. 3 in E flat (1842) and No. 5 in C minor (1870) exemplify his capacity for lyrical invention and orchestral color. This recording, featuring the accomplished pianist Peter Donohoe alongside the BBC Scottish Symphony Orchestra under the baton of Andrew Litton, offers an opportunity to reexamine Litolff’s works, which bridge the classical and romantic styles in intriguing ways.
The recording opens with the Concerto Symphonique No. 3, where Donohoe’s deft touch and sensitive phrasing immediately captivate. The piano’s entry is marked by a playful dialogue with the orchestra, and Donohoe embraces this exchange with a nuanced interpretation. His ability to vary dynamics enhances the work’s inherent drama, particularly in the development section where he skillfully navigates the thematic material with both vigor and delicacy. The orchestral accompaniment, buoyed by Litton’s energetic conducting, provides a rich backdrop, allowing the piano to emerge as both a solo voice and a collaborative partner in the musical narrative.
In contrast, the Concerto Symphonique No. 5 presents a more mature Litolff, with a darker harmonic palette and a greater emphasis on thematic transformation. Here, Donohoe’s interpretation reveals a heightened sense of introspection. The Allegro’s opening theme is delivered with a robust yet contemplative character, embodying the tension between assertiveness and vulnerability. Notably, the second movement, Adagio, showcases Donohoe’s lyrical ability as he shapes the long-breathed lines with a subtle rubato that evokes profound emotion. The orchestral textures in this movement are particularly well-balanced, with Litton ensuring that the woodwinds and strings complement the piano’s voice without overpowering it.
The recording quality is commendable, capturing the vibrant soundscape of Caird Hall. The engineering allows for a clear delineation of orchestral layers, ensuring that the piano remains front and center while also blending harmoniously with the ensemble. This clarity is especially apparent during the climactic moments of both concertos, where the interplay between soloist and orchestra is essential to the overall impact. Hyperion’s reputation for high-quality recordings is upheld here, providing listeners with an immersive auditory experience.
When compared to other recordings of Litolff’s works, such as those by Jean-Efflam Bavouzet and the Orchestre National de Lille, this interpretation stands out for its combination of technical precision and emotional depth. While Bavouzet’s recordings may lean towards a more virtuosic display, Donohoe’s approach prioritizes musical storytelling, allowing the listener to engage with the emotional landscapes Litolff crafted.
This recording not only sheds light on the intricacies of Litolff’s concertos but also highlights Peter Donohoe’s artistry and the BBC Scottish Symphony Orchestra’s adeptness in executing this repertoire with finesse. The performances capture the essence of Romanticism while allowing the unique qualities of Litolff’s compositions to resonate. The album is a valuable addition to the canon of Romantic piano concertos, revealing both the charm and complexity of a composer deserving of wider recognition.