January 3, 2011
CD and Other Review

Review: Bassoon Concertos (Karen Geoghegan, BBC Philharmonic/Noseda)

It is a sweet-sounding instrument, quite emotional and even, in her hands, elegant, but always within a relatively narrow band of expression when compared to the more virtuosic concerto partners, the piano, violin or the unabashed French horn. Mozart’s only surviving concerto for bassoon (he wrote three others, all lost) is a charming work, written when the composer was only 18 years old. It features a particularly beautiful andante, which has a delicious theme anticipating his famous aria Porgi amor from The Marriage of Figaro. The main item on the disc is a recently-discovered concerto by Gioachino Rossini, or at least attributed to him by some scholars. If they are correct, this would be the last piece he wrote for orchestra, before he left Bologna to live the high life in Paris. Sadly, it is a rather perfunctory piece with some pleasing moments but concluding with a rondo in which all high spirits seem assumed. It suggests, more than anything else, that the now-retired Rossini had said all he wanted to say in music. More interest is found in two 19th-century concertos by Conradin Kreutzer and Bernhard Crusell, who ride above the limitations of the solo instrument to provide some…

January 2, 2011
CD and Other Review

Review: From Shadows (Adam Herd)

Adam Herd is a young prize-winning pianist from Coffs Harbour. Don’t be misled by the “country-and-western” cover shot, or the bio that stresses his interest in sport and surfing: Herd may be a regular guy but he is also a sensitive and accomplished musician. His program is well chosen. Anatoly Liadov was a late 19th-century Russian composer, essentially a miniaturist. His three short pieces (Prelude Op 11, No 1, Barcarolle Op 44, and Novelette Op 20) are pretty but insubstantial; the orchestra was Liadov’s domain. Nonetheless, he was a precursor to Rachmaninov, whose rarely played Variations on a Theme of Chopin follow. The variations are on Chopin’s Prelude Op 28, No 20, a solemn chorale. Solemnity permeates the first ten minutes of this long work, poorly received at its premiere. The composer subsequently cut the 10th and 12th variations and the coda, and Herd plays the shorter version. Although the piece takes a while to get started, it eventually offers the performer opportunities to be fleet, tender, and vigorous. Herd meets these challenges with style and an innate feeling for rubato. Australian composer Carl Vine’s Third Piano Sonata was composed in 2007. In four linked movements, it progresses from a…

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