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Angus McPherson
Limelight, March 2020

Tuck and Bonynge’s intriguing Czerny series marches on.

Australian pianist Rosemary Tuck and maestro Richard Bonynge continue their exploration of Beethoven pupil Carl Czerny’s music with Czerny’s own ‘Emperor’ Concerto with the English Chamber Orchestra.

…Czerny’s Concerto proves a worthwhile listen, particularly for those interested in Beethoven’s legacy but looking for something new. © 2020 Limelight Read complete review



Alan Becker
American Record Guide, March 2020

The Concertino is in three movements; it is a full concerto in all but name. Once again it is a joy to listen to and a wonder that it has taken so long for it to emerge from oblivion. The 13-minute Rondino based on a theme from Auber’s opera Le Macon [reviewed in this issue] dates from 1826, about a year after the opera’s first performance. It does capture the mood of this opera comique and will please people who enjoy such diversions.

It only remains to praise all of these performances, the excellent recorded sound, and the perceptive notes by the pianist. Resistance is futile, so gather a snack, a drink, and prepare for an aural feast. © 2020 American Record Guide Read complete review on American Record Guide



John France
MusicWeb International, January 2020

The masterful playing by Rosemary Tuck (known for her CDs of William Vincent Wallace’s opera transcriptions and Albert Ketelbey’s piano music) is evident from beginning to the end. The English Chamber Orchestra are on form throughout. Finally, it is great to see that Richard Bonynge is on the podium. It is marvellous to hear this great veteran conductor, aged 90 next year, bringing so much vigour, life and enthusiasm to this music. © 2020 MusicWeb International Read complete review




Jean-Yves Clément
Diapason, January 2020

Disciple of Beethoven and teacher of Liszt, arranger also of a legendary meeting between those two creators, holder of a reputation as composer of thankless Etudes for piano, Czerny has been narrowly confined within the history of music. He is nevertheless a sound author (and very prolific!) in the vein of Hummel, whose pupil he was. All the same, these pages let us hear what makes all the difference between talent and genius… such as that of Chopin, who wrote his first concerto at the same time (1829) as Czerny, twenty years the elder, delivered his modest Concertino.

Czerny’s music, however, always expressive, elegant and never ponderous, deserves to be investigated. That is what Rosemary Tuck does with conviction and bravura, in this fourth volume of a complete survey of the Austrian composer’s works for piano and orchestra, which offers many first recordings. We also congratulate the excellent English Chamber Orchestra and the impeccable Richard Bonynge.

Beside a chattering and insipid Rondino after Auber’s opera Le Maçon, the Concertino relieves us with a fine inspiration, and its delightful virtuosity gives us an idea of how prodigious a pianist Czerny was (the alert Rondo is magnificently witty). Then the Second Grand Concerto, written at the age of twenty-one, exact contemporary of Beethoven’s “Emperor”—which Czerny played in Vienna at the same time, and from which he borrowed the affirmative tonality and certain characteristics of writing—displays a higher ambition, although inevitably not sustained for the whole of its length (more than forty-five minutes…).

Its broad introduction, quite pastoral (Rossinian!), is followed by a no less bucolic second movement where one admires the fine effusion and the variations with solo horn, on a theme which recalls Mendelssohn in his famous song On Wings of Song—less than just a coincidence… A fine discovery! © 2020 Diapason



Records International, November 2019

Czerny was just 21 when he wrote the 45-minute Second Grand Concerto. Begun only twelve days after he had given the Viennese premiere of his mentor’s Emperor Concerto, the same choice of key seems a fitting homage to the grand master he so revered. The 23-minute Concertino of 1829 is of smaller size only in its three-minute slow movement while the glittery Rondino (1826) brings a well-filled CD up to 82:19! © 2019 Records International



Grego Applegate Edwards
Gapplegate Classical-Modern Music Review, October 2019

Rosemary Tuck at the piano along with the English Chamber Orchestra under Richard Bonynge turn in stellar performances and quell any unease one might feel about so much Czerny coming out of late—because this is in fact worthy music, very well played. © 2019 Gapplegate Classical-Modern Music Review Read complete review



David Denton
David's Review Corner, October 2019

A friend and favourite pupil of Beethoven, Carl Czerny became one of the most prolific composers in the early Nineteenth century with over a thousand works. It did not hold him in good stead, the public preferred the new world of composition Beethoven had introduced, while Czerny’s music is in the comfortable world that began with Mozart. That maybe a cruel appraisal of a gifted musician, but it has been the view taken by concert promoters who have sent his music into the realms of the forgotten. Now the Australian duo of the pianist, Rosemary Tuck, and veteran conductor, Richard Bonynge, look to reverse his descent into the oblivion with a series of Naxos recordings, this being the third release in music for piano and orchestra. They have an attractive outcome with releases that show their faith is being repaid. You need go no further than the beautiful and—for that period—expertly crafted opening movement of the C major Concertino to sample melodic gifts that are crowned by a most joyous final Rondo. Add the short and tender central Andante and you have a score of considerable pleasure. It dates from 1829 some fifteen years after the youthful Second Grand Concerto. Certainly grand in length as it almost reaches forty-six minutes, an enormous duration for that period, and more extended than any of Beethoven’s five concertos that had preceded it. Here we find a far more important role for the orchestra, and in particular the solo status of the French horn. So we have the piano often in a decorative role around the thematic material that is here generated by the English Chamber Orchestra in very fine form. To complete this extremely long disc we have a dancing Rondo on themes from Auber’s opera ‘Le Macon’. Expertly detailed playing from Tuck and exemplary sound quality from the sessions in 2018, all the works in World Premiere Recordings. © 2019 David’s Review Corner



Ralph Graves
WTJU, September 2019

This is the second Czerny recording by Rosemary Tuck, Richard Bonynge, and the ESO. That release featured the Grand Concerto in A minor. This one has Czerny’s Second Grand Concerto, and it’s equally grand.

The English Chamber Orchestra directed by Richard Bonynge is in fine form. They have a very big ensemble sound for the Grand Concerto and quite an intimate one for the Rondonino. Well-written music well-performed. © 2019 WTJU Read complete review





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