Piano Concerto In E Major
Piano Concerto In F

The Romantic Piano Concerto Series goes French for this recording of the single examples in the genre by Massenet and his pupil Hahn. Both works were written towards the end of their composers' careers and mark a return to the piano for each of them; the piano had originally been the first instrument of both, but opera and the voice had occupied them for most of their lives.

Although both concertos owe a debt to the lean and athletic piano style exemplified by Saint-Saëns, they are very different in character. The Massenet is an extrovert work culminating in a very Lisztian 'Hungarian' finale, while the Hahn is primarily lyrical and gentle, the composer's gifts as a composer of songs easily transferring to the concerto medium.



'These really are very good performances of two mystifyingly neglected gems of the repertoire' (BBC Record Review)

'Heavenly Hahn in this latest addition to this treasure of a series' (Classic CD)

'If you'd sooner have fraises des bois and creme Chantilly rather than foie gras and trumpets, this is for you' (Gramophone)

'Hyperion is to be congratulated for adding this work to its growing series of Hahn compositions ... high spirits and joy aplenty ... Another Romantic Piano Concerto winner from Hyperion; heartily recommended' (Fanfare, USA)

'Coombs believes implicitly in both compositions and his restrained brand of pearly virtuosity (right for the music) added to a considerable musical sensibility puts forward a persuasive case' (Hi Fi News)

'A thoroughly delightful piece [Hahn], well worth reviving, here perfectly coupled. A delight [Massenet].' (The Penguin Guide to Compact Discs)

'One of the finest releases in Hyperion's ongoing series of Romantic piano concertos. There's no reason why these pieces aren't standard repertoire, especially in performances like this: Coombs literally plays the pants off both of them, and Ossonce matches him lick for lick. It's the genuine article, a true discovery, a collector's dream' (Classical Pulse!, USA)

'Ambas obras permiten el lucimiento del solista, y lógicamente Coombs no ha dejado escapar la oportunidad para ofrecernos unas versiones majestuosas, rebosantes de sonoridad, dotadas de un magnetismo evidente' (CD Compact, Spain)

'Stephen Coombs is at least as fine as any artist to appear from Russia in all the past 20 years. Sonics are excellent and the booklet brimming with interest' (In Tune, USA)

'A thoroughly delightful disc' (Piano International)

---

Recording details: June 1996; Henry Wood Hall, Glasgow, Scotland, United Kingdom; Produced by Amanda Hurton; Engineered by Tony Faulkner; Release date: April 1997;