Hummel: Mandolin Concerto, Trumpet Concerto, Ballet Music

Editorial Reviews
Amazon.com
Although the packaging cannily plays up the Corelli's Mandolin connection, this disc should simply be treasured as a particularly fine collection of Hummel's music, ably performed by sympathetic soloists and a topnotch orchestra under the baton of the composer's most ardent modern-day champion, Howard Shelley. The Concerto in G was originally composed for virtuoso mandolinist Bartholomeo Bortolazzi in 1799, and its outstanding virtue is that, unlike much other mandolin repertoire, it appeals to non-aficionados of the little Italian instrument too. Its weighty orchestral introduction (there's a joke about that in Louis de Bernières's novel) sets the scene for a work of real substance and broad melodic appeal. Soloist Alison Stephens has captured the market in mandolin performances of late, but in this expressive performance of a tough piece she effortlessly justifies her workload (her cadenza in the Rondo is an especial treat). Here she performs a previously unknown later revision of the concerto that has significant variations in the solo part across all three movements, emphasizing the ringing arpeggios that lend themselves so well to the double strings of the instrument.

Urban Agnas is the forthright soloist in the well-known Concerto in E, a staple of the trumpet repertoire and for years about the only piece that kept Hummel's name alive. The concertos are bookended by two previously unrecorded works: the jolly Freudenfest Overture, which has fun with "God Save the King" among other national melodies, and the ballet suite Das Zauberglöckchen, the kind of breezily tuneful yet ultimately unmemorable work that might have doomed Hummel to obscurity if it were not for the persuasive advocacy of Shelley and his soloists. The depth and clarity of Chandos engineering brings out the best in everybody. --Mark Walker

Tracks:

Freudenfest Overture, S148
Mandolin Concerto in G major, S28: Allegro moderato
Mandolin Concerto in G major, S28: Andante con variazioni
Mandolin Concerto in G major, S28: Rondo: Allegro
Trumpet Concerto in E major, S49: Allegro con spirito
Trumpet Concerto in E major, S49: Andante (versione prima)
Trumpet Concerto in E major, S49: Rondo-Minore-Maggiore
Ballet Music For "Das Zauberglockchen": Ensemble: Allegro energico
Ballet Music For "Das Zauberglockchen": Pas de deux: Un poco lento-Allegretto grazioso
Ballet Music For "Das Zauberglockchen": Pas suel, et pas de trois a la
Ballet Music For "Das Zauberglockchen": Groteschi: Allegro non troppo
Ballet Music For "Das Zauberglockchen": Ballo generale: Allegro molto vivace

Amazon.com

Although the packaging cannily plays up the Corelli's Mandolin connection, this disc should simply be treasured as a particularly fine collection of Hummel's music, ably performed by sympathetic soloists and a topnotch orchestra under the baton of the composer's most ardent modern-day champion, Howard Shelley. The Concerto in G was originally composed for virtuoso mandolinist Bartholomeo Bortolazzi in 1799, and its outstanding virtue is that, unlike much other mandolin repertoire, it appeals to non-aficionados of the little Italian instrument too. Its weighty orchestral introduction (there's a joke about that in Louis de Bernières's novel) sets the scene for a work of real substance and broad melodic appeal. Soloist Alison Stephens has captured the market in mandolin performances of late, but in this expressive performance of a tough piece she effortlessly justifies her workload (her cadenza in the Rondo is an especial treat). Here she performs a previously unknown later revision of the concerto that has significant variations in the solo part across all three movements, emphasizing the ringing arpeggios that lend themselves so well to the double strings of the instrument.

Urban Agnas is the forthright soloist in the well-known Concerto in E, a staple of the trumpet repertoire and for years about the only piece that kept Hummel's name alive. The concertos are bookended by two previously unrecorded works: the jolly Freudenfest Overture, which has fun with "God Save the King" among other national melodies, and the ballet suite Das Zauberglöckchen, the kind of breezily tuneful yet ultimately unmemorable work that might have doomed Hummel to obscurity if it were not for the persuasive advocacy of Shelley and his soloists. The depth and clarity of Chandos engineering brings out the best in everybody. --Mark Walker

Customer Reviews:

Bortolazzi would be proud........2001-09-13

The orchestral works are beautifully performed and recorded, but, as I regard much of Hummel's purely orchestral output, not particularly memorable. I do like the nod to popular music in the Freudenfest Overture. Where this recording truly shines is in the concerti. Every part is crisply defined. The balance between orchestra and soloists is perfect. This is as good a recording of the sprightly trumpet concerto as I've ever heard. While the differences are evident, I believe this newly discovered version of the mandolin concerto would require a very critical listen by a familiar aficionado to aurally differentiate from the published version. How many would discern that this reaches a half tone or so higher than the typical mandolin of Hummel's day? Bortolazzi played the rather obscure Cremonese mandolin and I'd be interested to know if this revision was intended for him or somebody with a standard Neapolitan instrument tucked neatly under arm. I confess my great admiration for Alison Stephens. Of all the professional classical mandolinists recording today, she may make the least effort to dazzle through pyrotechnics. However, she manages to dazzle more than most through her disciplined, infallible technique and crisp clear tone. This is as much beauty as can be squeezed out of a mandolin and Ms. Stephens' squeezin' is effortless.

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