Rawsthorne: Piano Concertos 1 & 2

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Rawsthorne's First Piano Concerto, originally written with just strings and percussion accompaniment, was introduced in its later full orchestral form at a 1942 Promenade Concert by Louis Kentner.... — Gramophone Classical Music Guide, 2010 More…

Release Date: 1st Apr 2003
Catalogue No: 8555959
Label: Naxos
Series: British Piano Concertos
Length: 56 minutes

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Rawsthorne, A: Piano Concerto No. 1

Work length17:45

$4.00

$5.20

$7.00

Peter Donohoe
Ulster Orchestra
Takuo Yuasa

I. Capriccio: Allegro molto (Version for piano and orchestra)

Track length7:25

$2.00

$2.60

$3.50

II. Chaconne: Andante con moto (Version for piano and orchestra)

Track length5:00

$1.00

$1.30

$1.75

III. Tarantella. Vivace (Version for piano and orchestra)

Track length5:20

$1.00

$1.30

$1.75

Rawsthorne, A: Improvisations on a Theme of Constant Lambert

Work length12:22

$3.00

$3.85

$5.25

Ulster Orchestra
Takuo Yuasa

Improvisations on a Theme by Constant Lambert

Track length12:22

$3.00

$3.85

$5.25

Rawsthorne, A: Piano Concerto No. 2

Work length26:23

$5.00

$6.50

$8.75

Peter Donohoe
Ulster Orchestra
Takuo Yuasa

I. Allegro piacevole

Track length8:09

$2.00

$2.60

$3.50

II. Allegro molto

Track length5:00

$1.00

$1.30

$1.75

III. Intermezzo. Adagio semplice

Track length6:50

$1.00

$1.30

$1.75

IV. Allegro

Track length6:24

$1.00

$1.30

$1.75

Reviews
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Reviews

2010

Rawsthorne's First Piano Concerto, originally written with just strings and percussion accompaniment, was introduced in its later full orchestral form at a 1942 Promenade Concert by Louis Kentner. The Second was commissioned by the Arts Council for the 1951 Festival of Britain and premiered by Clifford Curzon in the then-new Royal Festival Hall. He later recorded it with Sargent and the LSO on a 10-inch LP for Decca.
The Record Guide's review commented on the 'open air tune in the finale with an instant appeal' and suggested the work would achieve the 'wide popularity it certainly deserves'. Alas that never came about. Peter Donohoe plays the First with an effervescent lightness of touch that emphasises the scherzando element of the first movement.
Yuasa provides witty orchestral detail – there's an engaging contribution from the bassoon – and yet still finds the underlying lyrical melancholy. He opens the Chaconne hauntingly, and the following dialogue with the piano has a compelling delicacy.
The Tarantella finale brings an infectious élan and splendid momentum. Donohoe's brilliant solo contribution has all the sparkle you could want, and the gentle pay-off of the brief coda is neatly managed.
In the Second Concerto the fluidity of Donohoe's playing is particularly appealing, and the overall balance – though the opening flute solo is perhaps a little recessive – is mostly admirable.
Donohoe and Yuasa deftly manage the quixotic changes of mood of the initally 'rather violent' Scherzo (the composer's description) and lead naturally into the wistful Adagio semplice, with its nostagic clarinet cantilena answered so exquisitely by the piano.
The Improvisations are based on a seven-note theme from Lambert's last ballet, Tiresias. They are widely varied in mood and style, and, even though Rawsthorne flirts with serialism, the variations are friendly and easy to follow, and the listener's attention is always fully engaged.
Certainly this Naxos disc can be strongly recommended, especially to those who have not yet before encountered Rawsthorne's always rewarding music.

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