Sir Stephen Hough, an accomplished pianist and composer, continues to make a significant impact on the music world. With more than 70 recordings to his name, his latest release showcases his dual role as both a performer and a composer. This 2023 album features his Piano Concerto along with two solo-piano suites, marking a fusion of his well-established musicianship with his evolving compositional voice.
The recording carries a sense of homecoming, as it features Hough performing with The Hallé orchestra under the direction of Sir Mark Elder. Additionally, the album includes compositions from 2019, which were nurtured during the pandemic when the cancellation of concert engagements provided him with the time and space to compose.
Hough’s career must be viewed within a broader context. A former recipient of the MacArthur Foundation “genius” grant, he has long demonstrated an impressive range of talents. Beyond his extensive contributions to piano repertoire, he has established himself as a respected critic, a memoirist with his book Enough, and a novelist through The Final Retreat. His artistic pursuits also extend into painting.
Known for his productivity, Hough exemplifies the creative professional who views travel, particularly long-haul flights, as an opportunity for artistic output. His social media followers frequently enjoy his travelogues, which highlight his keen eye for photography. His reflections on the music industry and its repertoire were collected in Rough Ideas, a title that underplays the depth of his insights. Any notion of “idle thoughts” seems far removed from his dynamic career.
For an arts journalist, keeping pace with Hough’s endeavors is a challenge. Some musicians, such as Christophe Rousset in early music, exhibit such relentless productivity that covering their projects would require constant updates. These artists juggle demanding performance schedules with equally intense recording commitments, backed by rigorous research and practice. The enthusiasm from both audiences and fellow musicians underscores the collaborative spirit surrounding these figures.
In the liner notes of his latest release, Hough acknowledges the lineage of historical keyboardists—from Beethoven to Bartók—who balanced performance with composition. He emphasizes that these musicians did not merely add composition to their careers but viewed it as an integral part of their artistic responsibility.
His new Piano Concerto, subtitled The World of Yesterday, reflects an awareness of musical tradition while also expanding on the concerto form. It aligns with audiences who may hesitate to embrace contemporary music due to concerns about dissonance, reassuring them with its accessible yet substantial style.
From its opening moments, the concerto evokes cinematic music. Hough, ever an artistic democrat, would not consider this a negative comparison. Composers such as Eric Korngold, Bernard Herrmann, Leonard Bernstein, and Dmitri Shostakovich have similarly bridged the gap between concert hall and film scoring.
The concerto balances virtuosic display with musical depth, ensuring that technical brilliance serves a greater artistic purpose. However, its introduction presents a unique structural choice. The orchestra plays for several minutes before the piano enters, creating a sense of anticipation. This is unlike Brahms’ Second Piano Concerto, which features an extended symphonic introduction, or Beethoven’s Fourth, where the pianist makes a striking solo entrance. The delayed arrival of the piano, followed by an immediate cadenza-level fanfare, raises questions about the compositional intent. While this introduction may perplex some listeners, the piece soon unfolds with unrelenting energy.
At the heart of the concerto lies a waltz, both charming and complex, reminiscent of Ravel’s La Valse. The three movements—Prelude – Cadenza, Waltz Variations, and Tarantella Appassionata—trace the emergence of a distinct artistic identity against the backdrop of orchestral texture. The final movement’s fiery intensity provides a dramatic conclusion, with Hough fully embracing virtuosic flair.
The longevity of a new concerto often depends on whether other pianists choose to add it to their repertoire. In an era where compositions frequently explore themes of transformation from darkness to light, this criterion has become less absolute. The success of concertos by Thomas Adès and John Adams suggests that Hough’s work may also find its place among contemporary performers.
The album concludes with Partita, a technically demanding work highlighted by the final Toccata, which challenges the pianist while maintaining a sense of effortless virtuosity. Longtime admirers of Hough’s musicianship would expect nothing less.
The Sonatina Nostalgica offers a more personal perspective, demonstrating Hough’s ability to infuse his music with narrative depth. Dedicated to the pianist Philip Fowke in honor of his 70th birthday, the piece reflects both the composer’s journey and his appreciation for musical nostalgia. It captures a sense of growth, from early promise to mature reflection, embodying sentimentality in the most refined sense.
In addition to his musical pursuits, Hough is an accomplished writer, frequently sharing his thoughts on an iPad that serves as his second keyboard. While his compositions and performances often take center stage, his literary contributions remain an essential facet of his creative identity. His reflections on the Sonatina serve as a fitting summary of the album’s overall theme: “It deliberately utilizes a romantic musical language of yesteryear.”
Related Topics
- Yngwie Malmsteen Explains Why He Didn’t Imitate Eddie Van Halen’s Style
- Guitar Kaksha Makes Online Guitar Learning Accessible for All with Flexible and Interactive Courses
- Gibson Collaborates with Johnny Marr to Release 20 Hand-Signed ’84 Les Paul Guitars for Charity
