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s coda for all intents and purposes czerny s duo brillant et concertant pour deux pianos in b flat op 358 is a piano concerto without the band it was published in 1835 and dedicated to his pupil the german pianist and composer theodor döhler the opening movement allegro con brio is presented in a loose sonata form with the first subject being lyrical and the second trill laden these are developed with considerable interest the andante con moto is a set of variations which advance well beyond a typical slow movement lots of rapid piano figuration chromatic scales and arpeggios the duo brillant et concertant concludes with a cheerful allegro vivace that swings through a series of keys and some lovely melodic digressions ending in a riotous conclusion the liner notes quote the musicologist maurice hinson s comment about this duo brillant being in a conservative romantic vein but requires a healthy dose of virtuoso fireworks great stuff the disc closes with the fantaisie et variations à quatre mains sur l opéra de bellini i puritani op 376 1837 a four hand tribute to bellini s final masterpiece from 1835 i puritani set in english civil war plymouth explores the trials of the royalist lovers elvira and arturo whose ordeal of war betrayal and madness is finally resolved when a last minute pardon restores elvira s reason and happiness czerny builds his fantaisie around elvira s act ii aria vien diletto è in ciel la luna sung in her delirium after arturo s disappearance a gloomy introduction coloured by a few dramatic detours leads to the poised statement of the theme four variations develop each more elaborate than the last save for the third which relaxes into a lyrical song like mood after an energetic allegro vivace and a more inward andante espressivo effectively the fourth variation the music presses on to its finale here czerny unleashes buoyant dance like ideas and bright trumpet like calls all driving toward a spirited presto codetta that brings matters home in the key of the original theme jingshu zhao born in wuhan in 1991 trained at the shanghai and san francisco conservatories before completing her dma at the university of north texas she has performed widely across china and the united states and has earned prizes in a range of national and international competitions her debut recording for toccata classics volume 1 of czerny s piano music reviewed on musicweb international here was warmly received by critics she currently teaches at huaibei normal university haoyue liang likewise holds a dma from the university of north texas following earlier studies in shanghai and san francisco active as a soloist and chamber musician he performed regularly with the university of north texas wind symphony and appeared in major texas venues a recipient of several international competition awards he has taught extensively serving as a festival adjudicator and teaching at the irving fine arts academy his research interests also include performing arts health a field in which he has presented conference work the recording is ideal complementing a superb performance revealing all the intricate detail of the piano figurations the liner notes are in two parts an overview by martin eastwick and a closer look at the music provided by william melton the latter section is particularly useful as these are all premiere recordings with little information available otherwise to listeners resumes of the performers are included in summary this new disc from toccata offers vibrant performances of czerny s brilliant duets zhao and liang possess the requisite healthy dose of virtuoso fireworks to bring these lost delights to life supported by an excellent sound it is a rewarding hour or so of music that proves czerny was far more than a pedagogue he was a master of the salon and a composer of genuine charm track listing carl czerny 1791 1857 grandes variations brillantes et concertantes pour deux pianofortes sur un thème favori de l opéra montecchi e capuleti op 285 1833 rondo brillant in b flat major op 321 for piano duet 1837 duo brillant et concertant pour deux pianos in b flat op 358 1835 fantaisie et variations à quatre mains sur l opéra de bellini i puritani op 376 1837 jingshu zhao piano haoyue liang piano rec 23 24 july and 1 2 september 2025 west road concert hall cambridge england toccata classics tocc0791 with thanks to musicweb international where this review was first published posted by john france at 07 13 no comments labels carl czerny saturday 4 july 2026 minor masterpieces of organ music no 5 john ireland s capriccio john ireland is not the first english composer that an organist would consider when assembling a programme for a recital his best known works are the piano miniature the holy boy the song sea fever and his anthem greater love hath no man i first discovered him in 1973 when a friend of mine at coatbridge high school sang if there were dreams to sell a setting of thomas lovell beddoes s unpretentious if slightly melancholic poem since that time i have explored ireland s compositions which include more songs much interesting chamber music some impressive orchestral pieces and an important corpus of piano works his style tended towards french impressionism and romantic expressiveness often infused by a native mysticism this latter was inspired by his reading of the welsh author arthur machen and his sympathetic reaction to the ancient landscapes of the channel islands dorset and sussex ireland s output for organ was largely completed over a brief period between 1902 and 1912 with a final notable offering meditation on john keble s rogationtide hymn as late as 1958 these include the elegiac romance 1902 a miniature suite c 1905 and the solemn sursum corda 1911 the capriccio dates from 1911 and was dedicated to h l balfour at that time the organist at holy trinity sloane street london it was published in the organ recitalist no 23 by stainer and bell in that year contemporaneously ireland was organist at st luke s church chelsea unusually for john ireland who normally explored themes of solitude longing and transcendence the capriccio is characterised by wit bravura and technical prowess it is of interest as acting as a bridge between the early 20 th century edwardian english organ tradition and a later more modernist mood being a move away from pastoral lyricism towards a more continental sophistication formally the capriccio could be defined as a modified rondo recurring theme with more or less related episodes or a perpetuum mobile unceasing motion driven by relentless rhythmic energy the progress of this six minute piece moves from intimate moments to shattering tuttis even calling for a tuba stop where available a large three or four manual organ is required for maximum effect fig 1 the opening bars fig 1 set up the mood with semiquavers accompanying a four bar phrase of straight quavers introduced by impudent grace notes this roiling mood is repeated and then varied with some subtle syncopation fig 2 the first episode fig 2 is quieter calling on a clarinet solo on the choir or great organ then the return of the principal theme is recalled slightly varied the second episode is heard on the choir flutes from this point it builds up with a long crescendo this is interrupted by a final reprise of the opening before the work ends with a powerful march like coda using the tuba stop calling for full organ and a final ffff chord in the home key the capriccio is ostensibly in c major but typical of ireland s style there are many passing modulations harmonically it features chromaticism and modality echoing influences from french impressionism and the english pastoral school though with a more urban whimsical character a contemporary review in the musical times june 1912 p 384 stated among those modern composers who are endeavouring to raise the standard of organ music must be included the name of mr john ireland he proves that while it is not necessary to sustain the organ s reputation by writing a fugue it is quite possible to present acceptable examples in lighter form and yet to maintain the true character of the instrument the capriccio is admirably written and while within the powers of those possessing even moderate technical skill should prove a charming addition to the programme of many an organ recital organists should be aware that this work depends on more than moderate technical skill to this end peter hardwick in his essential british organ music of the twentieth century the scarecrow press 2002 p 94 states that a good keyboard technique is called for in order to execute the saucy little sixteenth note accompanimental figurations the principal melody s impudent grace notes and passages that require the crossing of hands finally commentators have noticed the potential of more popular audience appeal with the capriccio than any of his other pieces for this instrument part of this is the obvious cinema organ despite this instrument only beginning to appear in 1911 sound apparent from the opening bars it would make a popular encore with the audience most definitely tapping their feet the score of capriccio can currently be found in the organ music of john ireland ed robert gower novello 2003 with thanks to the glasgow society of organists journal where this essay was first published posted by john france at 06 00 no comments labels john ireland wednesday 1 july 2026 hellish virtuosity meets refined musical grace i am not sure why this album has been entitled inferno to be sure featuring franz liszt s après une lecture de dante fantasia quasi sonata may give the listener a clue but what is there demonic about some of the other offerings carl czerny may be best known for his didactic piano studies yet his fascinating variations on a theme by rode la ricordanza op 33 expose a more engaging musical talent based on a now forgotten melody by the equally neglected violinist and composer pierre rode 1774 1830 the work unfolds from a poised understated theme into a sequence of increasingly brilliant variations behzod abduraimov manipulates the music with lots of sparkle revealing a meticulously crafted piece that deserves far wider currency and reminds us how much of czerny s vast catalogue remains unexplored walter beckett in his master musicians study of franz liszt wrote that après une lecture de dante fantasia quasi sonata is rather impractical a great technical expertise is called for and the player must vitalise the music with their own personality otherwise one is left wondering what the whole thing is about beckett s insinuation is that the work is a blank canvas requiring the performer to fill in the gaps other critics see it as a masterclass in narrative structure and lisztian thematic transformation a metamorphosis of a few core motifs including the tritone or diabolus in musica i would contend that the score presents a sophisticated self contained musical drama what is the piece about liszt s dante sonata traces a spiritual journey from the horror of hell towards a vision of heaven infernal chromaticism confronts radiant beatrice like themes culminating in a hard won transfiguration of the soul emerging from despair into an illuminating grace i followed abduraimov s pyrotechnics in the score it is amazing claude debussy s suite bergamasque l 75 1890 needs little introduction the third movement clair de lune is a lollipop and long time favourite with recitalists the others prelude menuet and passepied are less often heard yet go to make up a stylistically cohesive set that bridges the gap between baroque form and impressionist colour to pull it off you cannot just rely on the celebrity of clair de lune the entire suite needs a light flexible touch and finely judged pedalling to create the right atmosphere as the liner notes suggest it displays the secret of emotion without stress for me this is a fine account of one of debussy s most attractive works i enjoyed the three movements from petrushka a suite transcribed by igor stravinsky from his own revolutionary 1911 ballet it portrays the tragic love triangle of three puppets petrushka the ballerina and the moor set against the vibrant chaos of a st petersburg shrovetide fair the movements titled danse russe russian dance chez pétrouchka petrushka s room and la semaine grasse the shrovetide fair serve as a brilliant distillation of the ballet s power in creating this version stravinsky wrote that he did not at all wish to use the piano to represent the orchestra on the contrary i did my best to transform it into an essentially pianistic piece using all the idiomatic resources of the instrument the result is a work of staggering virtuosity that pushes the boundaries of the keyboard s capabilities fittingly this formidable transcription was dedicated to the legendary pianist artur rubinstein it is given a remarkable account here the final track is a sympathetic performance of johannes brahms s intermezzo in b minor op 119 no 1 1893 there is nothing of the inferno here rather it is a study in late romantic introspection and melancholy brahms famously described its pervasive dissonances as exceedingly sweet a reminder it requires the most delicate touch as the opening number in his final set of piano works it serves as a bittersweet farewell to the instrument behzod abduraimov born in tashkent uzbekistan in 1990 first attracted international attention after winning the 2009 london international piano competition with prokofiev s piano concerto no 3 a former student of the pianist and educator stanislav ioudenitch at the international center for music in kansas city he quickly established himself through high profile appearances with leading orchestras and a series of well received recordings inferno as a title for this disc remains a marketing enigma while the liszt and stravinsky tracks certainly bring the heat one through diabolical drama and the other through sheer mechanical fire the rest of the recital feels more like a scenic detour than a descent into the abyss czerny s elegance and brahms s exceedingly sweet melancholy have little to do with eternal damnation however if the inferno here is meant to represent the performer s trial by fire abduraimov emerges unscathed he navigates these wildly different emotional landscapes with such poise that even if the thematic thread is thin the musical journey is undeniably compelling track listing carl czerny 1791 1857 variations on a theme by rode op 33 1820s franz liszt 1811 86 après une lecture de dante fantasia quasi sonata années de pèlerinage deuxième année italie s 161 7 1846 49 claude debussy 1862 1918 suite bergamasque l 75 1890 igor stravinsky 1882 1971 three movements from petrushka 1911 1921 johannes brahms 1833 97 4 klavierstücke op 119 no 1 intermezzo 1893 behzod abduraimov piano rec november 2025 teldex studio berlin alpha classics alpha 1219 with thanks to musicweb international where this review wa...