Carol Rosenberger, piano A Concerto Collection Gerard Schwarz, conductor HANSON STRAUSS FALLA HAYDN DE 3306 2-disc set DE 3306 1 0 13491 33062 4 ach concerto recording in this col- zy Court, where Haydn spent so many lection originally appeared as the years as Kapellmeister. Mozart said about Esolo turn on a symphonic album his friend Haydn’s music that “he alone conducted by Gerard Schwarz. Jerry and has the secret of making me smile and I both relished the chance to present pi- touching me to the bottom of my soul.” ano-and-orchestra repertoire that was These two keyboard concertos, with their “right” for the symphonic program and in buoyant, sometimes humorous outer some cases under-served on recording. It movements and their lovely, poignant was some time after all six had appeared in slow movements, could not be better this context that I began to think of them described. In my cadenzas for the slow as a collection of piano concertos seldom movements, I took the liberty of restating found on the piano-and-orchestra circuit each movement’s major thematic materi- that might deserve an album of their own. al in its entirety, with freely varied orna- mentation, as it seemed to me that each Although not heard often on the modern theme could well stand another hearing piano, the keyboard concertos of Joseph before we left the movement. Haydn are a staple of harpsichord and fortepiano repertoire. This is true espe- Burleske by Richard Strauss and Nights cially of the wonderful D Major Con- in the Gardens of Spain by Manuel de certo, which is also used frequently as a Falla each represents its composer’s only study piece for piano students. I admit to work originally written for piano and or- having played it with great enthusiasm chestra (although Strauss did arrange for when I was 10, but hasten to say that I piano, left hand two of his other works, wrote my cadenzas and lead-ins upon and Falla did write a chamber concerto revisiting the concerto many years later! for harpsichord and five other instru- The G Major Concerto is rarely played ments that could be played on the piano). on any instrument, but once discovered, Burleske and Nights also have in common usually inspires love at first hearing. Both piano parts that are, to an unusual de- concertos can arouse a momentary envy gree, an integral part of the orchestration of those lucky residents of the Esterha- of each concerto. 2 As an avid Strauss opera fan, I’ve had a ornamental figures that distinguish the wonderful time playing a piece that re- popular music of Andalusia, though they minds me of some whimsical and lyrical are rarely used in their original forms.” moments in some of my favorite operas. Strauss wrote the delightful Burleske in As for the great American composer and 1885 when he was 21 and already re- educator Howard Hanson, I fell in love vealing himself to be what musicologist first with his choral music, then with his Michael Kennedy called “the fantastic symphonic music, especially the first conjurer of the orchestra… juggling three symphonies, and only then discov- with pianist and orchestra as if they were ered the Fantasy Variations on a Theme featherweights.” Hans von Bülow, for of Youth and the Piano Concerto. De- whom the concerto was written, found it spite his powerful position during his awkward to play and refused to perform 40-year tenure at the Eastman School in it, so the premiere and the dedication on Rochester, much of his music was looked the score went to the pianist Eugene d’Al- upon as old-fashioned and out of step bert. during his lifetime, and was therefore ne- glected. I enjoy rereading his famous cre- For me, total immersion in Falla’s exot- do on romanticism, bearing in mind that ic and colorful Nights in the Gardens of his music had to wait through both neo- Spain has proven to be a memorable ad- classical and atonal trends to complete venture. These “symphonic impressions,” the cycle of acceptance for an unabashed as Falla subtitled the work, stem from romanticism such as his. “I recognize, of 1911-1915, and had their first perfor- course, that romanticism is, at the pres- mance at the Queen’s Hall in London in ent time, the poor stepchild, without the 1921, with the composer at the piano. social standing of her elder sister, neo- Falla described how he evoked “certain classicism,” Hanson wrote. “Nevertheless, effects peculiar to the popular instru- I embrace her all the more fervently, be- ments” of Andalusia in his imaginative lieving, as I do, that romanticism will find orchestrations, and chose themes “based in this country rich soil for a new, young on the rhythms, modes, cadences and and vigorous youth.” 3 Hanson wrote the engaging Fantasy the rhythmic passages that begin with Variations in 1951, to commemorate a sense of grounded energy and evolve the 100th anniversary of the founding into celebration – it’s all here. If I had any of Northwestern University, where the complaints at all it might be that in the composer had studied and taught over gorgeous slow movement there are places three decades earlier. “It occurred to me where Hanson wanted ever more intense that it would be appropriate if I could single, slow melody tones, arousing this write a series of variations on a theme pianist’s secret fantasy of applying vibrato which I wrote when I was a young stu- to the piano keys and suddenly being able dent there,” Hanson explained. “Looking to produce a series of vibrating, miracu- through my student works I found one lously swelling notes. theme which seemed to be as fresh today as it was when it was written well over 30 When Jerry Schwarz and I performed years ago. It was the opening theme of a and recorded the Concerto we used an concerto da camera for piano and string orchestral score still in manuscript, com- orchestra and I determined to use it as paring the piano part in that score with the basis for my new work.” The Fanta- the published two-piano study version. sy’s premiere took place at Northwestern We were fascinated at the differences we University on February 16, 1951, with the found between the two versions of the composer conducting. piano part. Evidently Hanson had told Rudolf Firkusny, who had played the If Hanson’s Fantasy Variations can be premiere, “Rudy, if you think something categorized as a rarity in concert per- sounds better your way, play it that way!” formance, then his Piano Concerto, I took my cue from this quote. written in 1948, would qualify for the endangered species list. To me this piece — Carol Rosenberger is vintage Hanson – the sense of space; the sentimental, soaring melodies whose treatment brings to mind images like am- ber waves of grain or sea to shining sea; 4 American pianist Carol Rosenberger Variations on a Theme of Youth, with has attracted an international audience Gerard Schwarz and the New York for bringing her special blend of refined Chamber Symphony. Rosenberger and virtuosity and poetically compelling Schwarz followed this recording with interpretations to both traditional and the rarely heard Hanson Piano Concerto contemporary repertoire. “Eloquent and with the Seattle Symphony. Together with sensitive playing” wrote The Times of Constantine Orbelian and the Moscow London, while that city’s Daily Telegraph Chamber Orchestra, Carol has recorded commented: “Her playing was alive to the premiere of Frank Bridge’s Chamber every fleeting sense impression, yet intel- Concerto for Piano and String Orchestra lectually commanding. These were ideal (arr. C. Orbelian), an arrangement of the performances.” Quintet (1912). Beginning with the debut tour that elic- Carol’s celebrated series of concept-re- ited such comment in New York, Boston, cordings began with Water Music of the London, Paris, Vienna, Berlin and oth- Impressionists, which was selected by Ste- er capitals, Carol’s distinguished recital reo Review as one of the 25 Best Classical programs and guest appearances with Compact Discs of all time, by Gramo- orchestras carried her to most major Eu- phone as a Recording of the Year, and by ropean and American cities. More recent Billboard as an All-time Great Recording. concert appearances include New York’s Night Moods was the successful sequel; Town Hall, Philharmonic Hall and the followed by Singing on the Water, which Great Hall of the Tchaikovsky Conserva- included Barcarolles written especial- tory in Moscow, and tours of Scandinavia ly for the album by Sir Richard Rodney and the U.S., with the Moscow Chamber Bennett and the American composer Da- Orchestra under Constantine Orbelian. vid Diamond. Over 30 recordings on the Delos label Carol’s Perchance to Dream, Lullabys for include her Grammy-nominated per- Children and Adults, struck a responsive formance of Howard Hanson’s Fantasy chord with all ages. The American Record 5 Guide called it “a splendid disc, to be trea- Scottish Chamber Orchestra was called sured by young and old," and Fanfare com- “the best recording of that work now mented that it is “the perfect gift among available,” by American Record Guide. recordings for introducing a child to the With the London Symphony, Rosen- intimacies and universality of music.” berger and Schwarz recorded the Falla Nights in the Gardens of Spain and the Together with label founder Amelia Hay- Beethoven Concerto No. 4; with the good, Carol co-produced the Delos Mu- Seattle Symphony they recorded the sic for Young People Series, working with Strauss Burleske, and with the Los Ange- such distinguished narrators as James les Chamber Orchestra the Shostakovich Earl Jones, Michael York and Natalia Ma- First Piano Concerto.