Sauer & Scharwenka: Piano Concertos (Hyperion Roma

Stephen Hough (piano) & City of Birmingham Symphony Orchestra, Lawrence Foster

Sauer:
 Piano Concerto No. 1 in E minor

Scharwenka, X:
 Piano Concerto No. 4 in F minor, Op. 82

"A glitteringly worthy addition to the Hyperion series ... Stephen Hough exhibits dazzling flair in showpiece concertos by Sauer and Scharwenka – and plenty of stamina ... Hough plays throughout with exhilarating momentum and dazzling technical address. I doubt whether any CD has so many double octave passages as this, but he never wearies, and his response to both works is as many-sided as the music itself ... Not to be missed, on any account."
Classic CD

"This jewel in the crown in Hyperion's Romantic Piano Concerto series marries flawlessly composer, performance, recording and presentation. Scharwenka's Piano Concerto No 4 is a far cry from his early, ubiquitous success, the E flat minor Polish Dance. Grand, Lisztian ambitions are fulfilled and embellished in writing of the most ferocious intricacy; the tarantella finale in particular throws everything at the pianist, seemingly simultaneously. It's therefore hardly surprising that after early triumphs the Fourth Concerto fell into neglect. At its second performance, given in 1910 with Scharwenka as soloist and Mahler as conductor, it was described as being of a 'truly Dionysian and bewildering brilliancy', a phrase that encapsulates Stephen Hough's astonishing performance. For here is scintillating wit and ebullience. As magisterial as it's eartickling and affectionate, his playing glows with warmth in the third movement Lento, and pulses with the most nonchalant glitter in the finale; one guaranteed to strike down less intrepid and fluent spirits with St Vitus's dance.

Emil von Sauer's First Concerto has a style and content to make even the least susceptible listeners' heads nod and feet tap. The Cavatina is as luscious and enchanting as the finale is teasingly brief and light-hearted. Throughout, haunting melodies are embroidered with the finest pianistic tracery. Once again the performance is bewitching. In the Cavatina Hough's caressing, fine-spun tone and long-breathed phrasing are a model for singers as well as pianists, and in the finale there's a lightly deployed virtuosity that epitomizes his aristocratic style.
Though the spotlight falls unashamedly on the soloist in such music, the orchestra has no small part in the proceedings, and Lawrence Foster and the CBSO are superbly resilient and enthusiastic, with strings that sing their hearts out.
Sound and balance are exemplary. Stephen Heliotis's accompanying notes deserve separate publication for their wit and perspicacity."
Gramophone - Classical Music Guide 2010