“Steven Osborne and Ilan Volkov launch into the Piano Concerto's opening 'Toccata' at a headlong pace… For all the remarkable velocity, the playing has weight and incisiveness too, and Osborne's way with the two central movements is equally sure. Diversions... a beautifully devised single-movement set of variations presents Britten's inventiveness at its most elegant. Osborne and the orchestra do this neglected jewel excellent justice.” --BBC Music Magazine, September 2008 ****
Gramophone Awards 2009 Best of Category - Concerto
Gramophone Awards 2009 Best of Category - Concerto
“…throughout the disc, Osborne and his colleagues make the best possible case for pieces which have tended to be placed on the outer fringes of the Britten canon.” --Gramophone Magazine, October 2008
“Osborne exults in Britten’s dazzlingly pianistic writing, and we get to hear the original 1938 version of the concerto’s third movement, a dazzlingly beautiful Recitative and Aria … a thrilling disc” --Sunday Times
“Commissioned as a 24-year-old to compose and perform a piano concerto for the 1938 Proms, Britten played safe. None of the edginess he might have filched from Bartók or Stravinsky, no Bergian angst: instead, the models are Prokofiev, Shostakovich and Ravel, and in these terms he doesn't miss a trick, at least before the finale's rather perfunctory final gallop. Most of the piece takes a genuinely fresh look at pianistic conventions, and Steven Osborne yields nothing to the great Sviatoslav Richter in the punchiness and fine-tuned filigree of his playing. No skating over the surface here, with Ilan Volkov and the BBC Scottish SO adept at teasing out the music's symphonic subtext, as well as its piquant orchestral effects.
Britten replaced the original slow movement in 1945, possibly because it spent too much time in waltz-like regions already visited in the second movement. This disc adds it anyway, alongside two other scores for piano and orchestra.
Young Apollo (1939) was not heard for half a century after its premiere, perhaps discarded by Britten because its fanfare-like material was more effectively deployed in Les illuminations (also 1939). It's a quirky piece, difficult to programme, a euphorically unguarded response to Keats's vision of male beauty in Hyperion.
Diversions is on a much grander scale, its style making even clearer those debts to Mahler which Britten had allowed to surface now and again in the concerto. The multifarious challenges to the single-handed soloist create moments of strong emotional depth and, as throughout the disc, Osborne and his colleagues make the best possible case for pieces which have tended to be placed on the outer fringes of the Britten canon. The recordings, made in Glasgow's Henry Wood Hall, have ample depth of sonority and vividness of colour.” --Gramophone Classical Music Guide, 2010
“Commissioned as a 24-year-old to compose and perform a piano concerto for the 1938 Proms, Britten played safe. None of the edginess he might have filched from Bartók or Stravinsky, no Bergian angst: instead, the models are Prokofiev, Shostakovich and Ravel, and in these terms he doesn't miss a trick, at least before the finale's rather perfunctory final gallop. Most of the piece takes a genuinely fresh look at pianistic conventions, and Steven Osborne yields nothing to the great Sviatoslav Richter in the punchiness and fine-tuned filigree of his playing. No skating over the surface here, with Ilan Volkov and the BBC Scottish SO adept at teasing out the music's symphonic subtext, as well as its piquant orchestral effects.
Britten replaced the original slow movement in 1945, possibly because it spent too much time in waltz-like regions already visited in the second movement. This disc adds it anyway, alongside two other scores for piano and orchestra.
Young Apollo (1939) was not heard for half a century after its premiere, perhaps discarded by Britten because its fanfare-like material was more effectively deployed in Les illuminations (also 1939). It's a quirky piece, difficult to programme, a euphorically unguarded response to Keats's vision of male beauty in Hyperion.
Diversions is on a much grander scale, its style making even clearer those debts to Mahler which Britten had allowed to surface now and again in the concerto. The multifarious challenges to the single-handed soloist create moments of strong emotional depth and, as throughout the disc, Osborne and his colleagues make the best possible case for pieces which have tended to be placed on the outer fringes of the Britten canon. The recordings, made in Glasgow's Henry Wood Hall, have ample depth of sonority and vividness of colour.” --Gramophone Classical Music Guide, 2010
