Hahn/Massenet: Piano Concertos

Editorial Reviews
Amazon.com
These are a real find. Massenet's well-earned reputation as an opera composer has totally eclipsed his orchestral pieces, including this lively and appealing Piano Concerto. The finale, in particular, is an exhilarating exercise in Slavic exoticism that would bring the house down in a live performance. Hahn's Concerto shares exactly the same qualities of good tunes, sparkling orchestration, and a grateful part for the soloist. Like Massenet, Hahn was best known as a composer of vocal music (and as Marcel Proust's lover), but that didn't prevent him from writing a concerto that stands with the best that this century has to offer. Marvelous performances and great sound add to this disc's manifold attractions. --David Hurwitz

Tracks:

Piano Concerto In E Flat Major: Andante moderato - Allegro non troppo
Piano Concerto In E Flat Major: Largo
Piano Concerto In E Flat Major: Airs Slovaques: Allegro
Piano Concerto In E Major: Improvisation: Modere tres librement
Piano Concerto In E Major: Danse: Vif
Piano Concerto In E Major: Reverie, Toccata et Finale: Lent - Gai, fortement rythme (pas trop vite) - Allegro

Amazon.com

These are a real find. Massenet's well-earned reputation as an opera composer has totally eclipsed his orchestral pieces, including this lively and appealing Piano Concerto. The finale, in particular, is an exhilarating exercise in Slavic exoticism that would bring the house down in a live performance. Hahn's Concerto shares exactly the same qualities of good tunes, sparkling orchestration, and a grateful part for the soloist. Like Massenet, Hahn was best known as a composer of vocal music (and as Marcel Proust's lover), but that didn't prevent him from writing a concerto that stands with the best that this century has to offer. Marvelous performances and great sound add to this disc's manifold attractions. --David Hurwitz

Customer Reviews:

Massenet takes all.......2003-07-23

Each CD of Hyperion's "Romantic Piano Concerto" series usually pairs a very satisfying, well structured concerto with one that is more overtly showy yet more loosely structured musically. In this case it is the Hahn concerto which is the more loosely structured one. It is certainly interesting harmonically (some progressions sound like early Debussy, though much less subtle), and the solo part is certainly quite flashy, but structurally it is quite shoddy. Too often does the work wonder around aimlessly, living from moment to moment while sacrificing overall coherence and narrative drive. If you have a taste for such virtuoso-centered concerti perhaps you will find the Hahn more eventful than I did.
The Massenet concerto, on the other hand, is quite a find. Anyone who knows and loves his operas (I have a weakness for "Werther" myself) will find this work irresistible. Unsurprisingly, the work is full of lovely themes -- the main theme of the second movement is particularly memorable. But Massenet is also careful to develop his motives in a logical manner, ensuring a healthy sense of narrative. The work is mainly lyrical (almost sugary, but it *just* escapes being sentimental), though there are also more vigorous sections too, such as the middle section of the second movement and most of the lively "Slavic" finale. The performances are for the most part excellent, with only a few faults here and there (such as the final high violin note in the second movement of the Massenet). Sound is splendid (as usual for Hyperion). For me, the Massenet concerto is certainly worth the price.

Two more romantic beauties........2002-04-25

This cd contains two late romantic piano concertos by two composers who started out on the piano, gained recognition for their vocal compositions and wrote a single piano concerto at a later stage of their careers. As an added "curiosity" Hahn studied under Massenet.

Massenet was 60 years old when he completed his concerto in 1903. He apparently used thematic material that he had in a drawer since his early years. His concerto is really an individual and inventive piece of work that would fit into many an orchestral program featuring works for vocalists. This work is a hybrid between a conventional and a symphonic concert.

The Massenet concerto starts with a symphonic opening involving the piano, that sounds like a French version of the opening of Wagner's Rheingold -L'or de la Seine, peut etre?- to unfold itself in a latin counterpart to Richard Strauss' symphonic poems with strong operatic influences.

The following Largo starts a little awkward, especially considering Massenet's strong lyrical background. The piano starts with a funeral march type melody, that is reminiscent of similar movements in works like Beethoven Op. 26 and Chopin Op. 25, but sounds way too"choppy" as a leading theme. Things improve significantly upon addition of a variety of themes that vary from Baroque to vintage Wagner and include a direct quote from the last movement of Beethovens 5th concerto.

The final movement is a well-written Slavic Rhapsody that pays homage to Liszt and Rimsky Korsakov and has a main theme that shares the angularity of its counterpart in the Grieg concerto. The movement as a whole comes across as an orchestrated Islamey.

Hahn wrote his concerto in 1931 at 55. It again is a highly individual work of great skill. Its first improvisatory movement exudes an operatic atmosphere that can be both described as updated Saint-Saens or French Rachmaninov. This is followed by a short lively dance. The third and final movement starts as a sophisticated lyrical reverie, that has touches of both Faure and Rach. III, before it develops in an upbeat Toccata and joyful finale.

Both works get a top-notch performance by Coombs and the Scots. Recording quality is excellent.

Two Beautiful Piano Concertos.......2000-01-12

The two concertos on this disc deserve much more attention than they have been given. They are beautiful works with wonderfully conceived melodies. Massenet and Hahn did not write what could be termed 'profound' concertos like Beethoven or Brahms but they are charming and unforgetable. Both concertos are expertly played and Mr. Combs has the right interpretation. These concertos have become favorites of mine.

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