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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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