These works by
Michael Tippett
aren't in common circulation, but after hearing this superb release by conductor
Edward Gardner
and the
London Philharmonic
, with pianist
Steven Osborne
, one will be hard-pressed to say why not. Both works are difficult, and this may be a factor. The
Symphony No. 2
crashed and burned at its opening performance, and the
Piano Concerto
is rhythmically and texturally complex without being particularly idiomatic to the instrument;
Tippett
was not a pianist. These difficulties are under full control here.
Osborne
has long experience with the work and recorded it in a studio in the late 2000s decade; the sound there may be a bit cleaner than on this live
recording, but there is a real knife's-edge sense here that comes with only the best live performances. The
is a magical work of the early '50s, with lovely combinations of piano and celesta inspired by
's opera
The Midsummer Marriage
. Its model was the
Piano Concerto No. 4 in G major, Op. 58
, of
Beethoven
, and it matches that profoundly lyrical work in its mood. The
, from just two years later, shows a move toward
's more dissonant later style and its rhythmic complexity. However, it has the same lyrical mood as the
, with gorgeous solos from trumpet and cello accompanied by combinations of flute, harp, piano, and pizzicato strings. There is also an influence from
Stravinsky
's neoclassic mode in the work. These are 20th century masterpieces in which structural complexity and direct audience appeal are as delicately balanced as they are in a work of
Brahms
, and those who haven't heard them are urged to do so here. This release made an entirely merited appearance on classical best-seller charts in the late autumn of 2024. ~ James Manheim