This is the second and final disc in a cycle of Sergei Prokofiev’s piano concertos with pianist Olli Mustonen and the Finnish Radio Symphony Orchestra conducted by Hannu Lintu. Of the first volume, Gramophone wrote: 'How many times have I regretted a shortage of fantasy, flair and fairy-tale imagination in recordings of the Prokofiev piano concertos? Well, here is a disc that takes all those qualities to the top'.
Olli Ahvenlahti - Bandstand (1975). Sweet keys from 70s Finland - a great little set that's filled with jazzy work on electric piano and clavinet! Keyboardist Olli Ahvenlahti has a touch that's as warm and soulful as some of his counterparts on the American fusion scene - an approach that's not nearly as jamming or rock-influenced as some of the other European keyboardists of the 70s, and which is carried off here with a gliding, soaring approach to the groove! Olli's group on the set features trumpet and sax in the frontline – shading in the tunes with qualities similar to some of the most righteous work done on keyboard sets for Muse or Strata East in the 70s - funky one minute, cosmic the next, with tight head arrangements that state the colors of the tunes, then break into freer solos…
This awaited release is the first disc in a series of Olli Mustonen and the Finnish Radio Symphony Orchestra conducted by Hannu Lintu performing the Piano Concertos by Sergei Prokofiev. Without a doubt some of the most substantial twentieth century masterworks, Prokofievs piano concertos prove the composers brilliant piano skills. The composer premiered his First Piano Concerto in 1914. The Third Piano Concerto is the most popular of Prokofievs concertos. The piece took several years to complete, and premiered in Chicago in 1921. Prokofievs Fourth Piano Concerto (for the left hand) is the most rarely heard of the three concertos featured on this recording.
Of Ottorino Respighi's vast output, only a handful are commonly played today. The so-called "Roman Trilogy" certainly tops the list of his most familiar, popular works. On the other end of the continuum is the Concerto in modo misolidio, a piano concerto in the mixolydian mode. Why this riveting work is not played more often is anyone's guess. It incorporates Respighi's innate talents as a master orchestrator, his deference to classical forms (in this case, the three-movement concerto format), and his love of ancient music and modes.