Review: Henselt & Bronsart – Piano Concertos – Paul Wee

Although Adolf von Henselt isn’t currently a part of the piano concerto canon, his Op. 16 Piano Concerto was a pinnacle of its day, and was premiered in 1845 by Clara Schumann with Mendelssohn conducting. Marc-André Hamelin famously revived the piece as part of Hyperion’s ambitious “The Romantic Piano Concerto” series, and here we have pianist Paul Wee with the more modest sources of the Swedish chamber Orchestra under Michael Collins.

The challenging piano writing exemplifies why the piece was considered a masterpiece of technical difficulty in its era: this is a true showpiece, and Wee certainly makes the most of the spotlight. Hear the fearlessness with which he approaches the thunderous octave passages. The Swedish Chamber Orchestra, with a beautifully transparent layering of high and low strings, illuminates von Henselt’s intricate counterpoint and rich harmonic palette.

For all its virtuosity, this work could easily fall into the trap of machismo, but the pianist presents the coy second theme with sensitivity and charm. It becomes clear that there is more than one persona present in the movement, adding to the vitality of von Henselt’s writing.

The hymn-like introduction of the Larghetto gives the woodwinds their chance to shine: the clarinets arch their lines most beautifully, although I’d liked to have heard their lyricism rise a little more above the supporting textures. Wee’s playing evokes the polished fluidity of a Chopin nocturne. His melodies sing with bel canto beauty, encompassing tenderness, relaxation, and even rhapsodic flourishes. Silky legatos and sensitive responses to the composer’s tonal colors reveal his true musicianship.

If Wee’s technical prowess wasn’t already remarkable, it certainly is in the finale: The pianist’s scampering passages are brilliantly clear, lithe, effortless, and acrobatic. While the dazzling display of virtuosity takes center stage, the finely blended and balanced playing of the ensemble should not be overlooked. Their contribution is essential, providing depth and boldness to the movement’s character.

A student of Liszt, Hans Bronsart von Schellendorf (1830-1913) is primarily remembered for premiering his teacher’s Piano Concerto No. 2, rather than his own compositions. Unlike the popularity of Henselt’s concerto in the years that followed its premier, Bronsart’s F-sharp minor concerto has never quite captured the spotlight. This is unfortunate, considering the work’s bold and powerful writing. However, it’s perhaps understandable; Bronsart’s concerto embodies the inherent theatricality and flamboyant style we associate with Liszt.

That said, Wee and the ensemble infuse plenty of enthusiasm into the performance. The Maestoso (track 4) is satisfyingly dramatic and adventurous. The slow movement that follows has some exquisite (Brahmsian?) melodic writing – listen for a particularly lovely personal dialogue between the piano and cello. The finale (track 5) is full of excitement, Wee scampering and galloping with direction and determination through the tricky intervallic passages. His touch has a delightful levity that prevents the music from ever getting bogged down.

The curation of these two concertos side by side — one that experienced massive success and another which didn’t — only goes to show how passionate Wee is about encouraging exposure for what are essentially (and regrettably) ‘lost concerti’. The superb SACD recording by the BIS team beautifully captures the special orchestration and the captivating dialogues between the pianist and the orchestra. With performances of such high caliber, I would certainly hope that Wee continues to champion these works. I eagerly await hearing what he has for us next.

Recommended Comparisons

Hamelin | Despax

von Henselt – Piano Concerto in F minor, Op. 16
Bronsart von Schellendorf – Piano Concerto in F Sharp Minor, Op. 10
Paul Wee – piano
Swedish Chamber Orchestra
Michael Collins

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