{"id":7343,"date":"2016-04-14T12:57:59","date_gmt":"2016-04-14T11:57:59","guid":{"rendered":"http:\/\/kennethwoods.net\/blog1\/?post_type=product&p=7343"},"modified":"2026-04-14T14:00:07","modified_gmt":"2026-04-14T13:00:07","slug":"hans-gal-piano-concerto-and-mozart-piano-concerto-no-22-in-e-flat-k-482","status":"publish","type":"product","link":"https:\/\/kennethwoods.net\/blog1\/product\/hans-gal-piano-concerto-and-mozart-piano-concerto-no-22-in-e-flat-k-482\/","title":{"rendered":"Hans G\u00e1l- Piano Concerto and Mozart- Piano Concerto no. 22 in E-flat, K 482"},"content":{"rendered":"

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Bringing to light another of Hans G\u00e1l\u2019s gorgeously melodic and finely crafted scores, AVIE presents the world premiere recording of the Austrian \u00e9migr\u00e9\u2019s Concerto for Piano and Orchestra<\/em> with English pianist Sarah Beth Briggs<\/strong><\/a> supported by G\u00e1l aficionado Kenneth Woods<\/strong><\/a> conducting the Royal Northern Sinfonia<\/strong><\/a>. Written in 1948, G\u00e1l\u2019s large-scale romantic concerto abounds with sweeping phrases and pyrotechnics, yet at the heart of the piece lies the composer\u2019s signature clarity and precision, making the work an ideal coupling for his 18th century Viennese compatriot Mozart\u2019s great E-flat major concerto of 1785.<\/p>\n

TRACKLIST:<\/h3>\n

Hans<\/strong> G\u00e1l <\/strong>(1890 \u2013 1987)
\nConcerto for Piano and Orchestra, Op.57 (32.28)
\n1 I. Allegro energico ma non troppo (11.43)
\n2 II. Adagio (11.07)
\n3 III. Allegretto vivace (9.38)
\n(world premiere recording)<\/p>\n

Wolfgang Amadeus Mozart <\/strong>(1756 \u2013 1791)
\n<\/strong>Piano Concerto No.22 in E flat, K482 (35.52)
\n4 I. Allegro* (14.06)
\n5 II. Andante (8.59)
\n6 III. Allegro* (12.47)
\n*Cadenzas: Denis Matthews
\nTotal time: 68.53<\/p>\n

Sarah Beth Briggs <\/strong>piano<\/em>
\nRoyal Northern Sinfonia
\n<\/strong>Kenneth Woods <\/strong>conductor <\/em>(1\u20133)
\nBradley Creswick <\/strong>co-director <\/em>(4\u20136)<\/p>\n

Recording: 12\u201314 January 2016, Hall One, Sage Gateshead, England
\nRecording produced, engineered and edited by Simon Fox-G\u00e1l<\/p>\n<\/div>\n

– See more at: http:\/\/www.avie-records.com\/releases\/gal-mozart-piano-concertos\/#sthash.hIxxHiBV.dpuf<\/a><\/p>\n

\"Gal<\/a><\/p>\n

\u201cLong overdue..the recording the piece richly deserved” <\/strong>Andrew McGreggor, BBC Radio 3 Record Review<\/a><\/p>\n

“The Concerto for Piano and Orchestra, Op 57, captivates from start to finish, its lucidly argued, agile and disarmingly witty outer movements framing a raptly songful Adagio centrepiece of conspicuous tenderness and beauty. Exemplary advocacy it receives, too, on this, its long-overdue first commercial recording: Sarah Beth Briggs revels in the tasteful refinement, brilliance and grace of G\u00e1l’s immaculately judged solo writing, and she enjoys marvellously understanding support from Kenneth Woods and the Royal Northern Sinfonia. Five Stars”<\/strong> Andrew Achenbach,\u00a0The Classical Ear<\/a><\/p>\n

“If this premiere recording persuades more pianists to take up this sweeping, lyrical concerto, then all to the good. Briggs\u2019s playing is shapely but unassuming, which underlines the skilful transparency of G\u00e1l\u2019s writing as well as how much of an ensemble piece this is. Four Stars.” <\/strong>Erica Jeal, The Guardian<\/a><\/p>\n

“The elegant, wonderfully transparent Adagio<\/em> is pure delight. As so often with this composer there are haunting hark-backs \u2013 ghostly echoes of old Vienna \u2013 that are both poignant and powerful. Briggs is sensitive to the movement\u2019s wistful character, and Woods offers sympathetic support throughout. Goodness, this is gorgeous music, lovingly calibrated; as for the RNS strings, they add a quiet luminosity to the mix. And although the Allegretto vivace<\/em> has a spring in its step \u2013 supple rhythms and taut timps to the fore \u2013 there\u2019s room for introspection, too. One of G\u00e1l\u2019s abiding strengths is that he never overworks his material; there\u2019s no hype or hectoring, either. In short, this is a most engaging score, delivered with real affection and skill.” <\/strong>Dan Morgan, MusicWeb International<\/a><\/p>\n

RECORDING OF THE MONTH “What impresses me is the composer\u2019s skilful and brilliantly imaginative scoring. Wood\u2019s deft handling of the orchestral textures is a perfect foil to Briggs\u2019 adroit virtuosity. In the Adagio which follows, the prevailing mood is one of peace and contentment. G\u00e1l can certainly rise to the occasion with a luscious big tune, proving himself an accomplished and inspired melodist. At one point, time almost stands still, and the pianist\u2019s pellucid tone is raptly intense. It\u2019s worth mentioning that the Steinway used has been expertly voiced and is richly toned. The playful and capricious finale has a touch of the burlesque about it, and both pianist and orchestra inject plenty of humour and wit. Notable is G\u00e1l\u2019s light, diaphanous scoring, which Woods brings to life and contours with clarity and definition.” <\/strong>Stephen Greenbank, MusicWeb International<\/a><\/p>\n

DISC OF THE WEEK “…this is a Concerto of some stature, and it\u2019s baffling that it could have been neglected for so many years. Sarah Beth Briggs\u2019s brilliantly alert and engaging performance, expertly partnered by Woods and the RNS, will surely bring it the recognition it deserves as one of G\u00e1l’s major works…a release that is outstanding in every way, essential listening!” <\/span><\/strong>EuropaDisc<\/span><\/p>\n

“Written in 1948, G\u00e1l’s large-scale romantic concerto abounds with sweeping phrases and pyrotechnics, yet at the heart of the piece lies the composer’s signature clarity and precision, making the work an ideal coupling for his 18th century Viennese compatriot Mozart’s great E-flat major concerto of 1785.. a truly<\/i> wonderful, inspiring work of classical art, and something that should be adored by all connoisseurs of such music – time after time after time..” Anne Carlini.com<\/a><\/strong><\/p>\n