This CD combines two things that have always given me great pleasure - the 
underrated composer and the piano concerto. Here Danacord have given us in 
'Volume 2' of a projected series, three fine examples of nineteenth century 
essays in this form. All three concerti are worthy of study and any one of them 
would be a 'pull' at the concert hall were they ever to be given a chance.

Winding was the son of a clergyman who had a passion for collecting and 
arranging Danish folk songs. Naturally, August studied with his father. Soon, 
however, he was to move to greater things; he studied piano with Anton Ree who 
had known Chopin. This was followed by composition lessons with Carl Reinecke 
and theory with no less a person than Niels W. Gade, the father of Danish music.

The first work given on this CD is the Concerto for Piano and Orchestra in A 
minor. It is Opus 16, which by a strange coincidence is the same opus number as 
Grieg's concerto in the same key! However, please do not look for another Grieg 
concerto.

Winding's concerto is in three movements - an andantino surrounded by two 
allegros. There is no doubt that from its flamboyant opening in the tonic key 
that this is a virtuosi piece. It seems very much at home in the world of 
romantic concertos. The immediate impression is that the piano is well balanced 
with orchestra, all the figuration being clear and well defined. The second 
subject is not so much a 'sentimental' tune as a change in tempo from the 
opening material. The characteristic figurations are ever present. The first 
movement finishes in the home key - no triumph just yet. There are times in this 
movement and in the rest of the concerto where one is almost reminded of 
Rachmaninoff. But more of that later. The programmes notes suggest that the 
composer most influencing Winding is Gade himself. However to my ear there is 
the whole fabric of romantic piano concerti underlying this work. There was a 
lot of exciting music in the air at that time.

The slow movement is the absolute heart of this work. It is no exaggeration to 
say that this is perhaps one of the loveliest things in the piano concerto 
literature. After a somewhat mundane few opening bars, the piano solo leads in 
to a long drawn Chopin-esque nocturne, with nods to Liszt and even to later 
masters. One wishes that the music would go on forever. It is so well structured 
with the balance between the piano and orchestra gently changing throughout the 
entire movement. It is quite a passionate movement, which would easily become a 
favourite was it allowed to become well known. The penultimate orchestral 
statement followed by the piano commentary would bring a tear to most hardened 
anti-romantic.

The last movement, if anything, is the weakest link in this piece. However this 
is being churlish. What we have here is a fine piece of music, which is 
beautifully played by the Russian pianist Oleg Marshev. It is an example of how 
a pianist/composer is able to give a fine work for his or her chosen medium. It 
may not be the most flamboyant or technically difficult piano concerto to be 
composed between 1800 and 1900 but it is certainly one of the better ones. My 
bottom line is that it works and it moves. What more can I say? Except that it 
was first performed in 1869.

The Concert Allegro for Piano and Orchestra in C minor Op.29. is a work that 
seems to me to be ahead of its time. I played it to a friend. Her response was - 
it sounds like film music. It could have been used for 'Brief Encounter.' And 
this I think is true. It was composed in 1875 - a long time before we were told 
that we 'ain't seen nothin' yet' but it has all the hallmarks of Hollywood. It 
is like the Bortkiewicz Concerto in Bb - film music in all but name. I suppose 
parts of it remind me of the 'greatest' work that Rachmaninoff did not actually 
write - the Warsaw Concerto. Parts of it are a dead ringer for that work. Yet we 
know that because Sergei would not write the score for 'Dangerous Moonlight,' 
Richard Addinsell was tasked to come up with the music, surrounded by the scores 
of Rachmaninoff's 2nd & 3rd Concerti and the Paganini Variations. So no 
influence from Winding!

However, for all lovers of the 'big' concerto this is piece to treasure. Put it 
on the 'turntable,' lie back and enjoy. It is one of my discoveries of 2001. It 
is a small fourteen-minute work I will not be able to live without.

Emil Hartmann is another composer who has suffered eclipse. This time it is the 
misfortune of having a father who was a well known composer, J.P.E Hartmann. 
However today both father and son are both unjustly neglected. This 
overshadowing by his father was to cause him some considerable emotional 
problems. 

Hartmann's catalogue is quite extensive. In addition to much church music, he 
wrote a great deal of incidental music for the theatre. Perhaps this was like 
later composers such as Korngold taking to writing an abundance of film music. A 
way of earning a regular income - over and above his organist's stipend. 

But Hartmann also wrote seven symphonies, a number of symphonic poems and 
chamber works. However it is the Piano Concerto Op.47 that concerns us here.

The work is in three movements. There is nothing over the top about this work. 
It is at times quite easygoing. However there are bursts of deeper thoughts, 
especially perhaps in the cadenza at the end of the first movement. The piano 
part seems to my ear to be well written; there is a definite hint of Mendelssohn 
in many passages. But this is hardly surprising, as that master had been all 
pervasive for a number of years in the first half of the nineteenth century. The 
orchestra is used effectively, not being overbearing on the piano part.

Like the Winding Piano Concerto, the slow movement, a Canzonetta, is perhaps the 
most attractive thing in this work. It is a beautiful example of a latter day 
'Song without Words.' As its title implies, the orchestra and piano follow each 
other around in canonical imitation, although the piano is almost always allowed 
to dominate. There is a delicacy in the piano writing that is finely brought off 
by Oleg Marshev.

The last movement is full of energy. Again nothing here to bring down the walls 
of Jericho - but some fine writing, some good lyrical tunes and some quite 
exciting moments leading to a 'biggish' finish.

There is no doubt that this is a fine CD. What a great project this is to 
resurrect some of Denmark's most delicious piano concerti. These three works are 
truly lovely. Concertgoers would greet any one of them with enthusiasm, were 
they given the chance to hear them.

So for all enthusiasts of the Romantic Piano Concerto, this is a CD to rush out 
and buy. You will not be disappointed.

  --John France