Sergey LYAPUNOV (1859-1924)
Piano Concerto No. 1 in E flat minor (1890) [22;16]
Piano Concerto No. 2 in E major (1909) [19:27]
Rhapsody on Ukrainian Themes (1907) [16:35]
Shorena Tsintsabadze (piano)
Russian Philharmonic Orchestra/Dmitry Yablonsky
rec. Studio 5, Russian State TV and Radio Company KULTURA, Moscow, 2-6 March
2008
NAXOS 8.570783 [58:32]
I must admit from the outset that the work of Lyapunov has remained beneath
my radar. This is a pity because I was delighted to discover so much to admire
on the evidence of this CD. Another recording made in 2002, is available on
Hyperion
with Hamish Milne (piano) and the BBC Scottish SO/Martyn Brabbins reviewed
on this site by Rob Barnett. His review includes more detail about the composer
than I have stated below.
Born at Yaroslavl in 1859, Lyapunov studied first in Moscow - including a
brief period with Tchaikovsky - before he moved on to St Petersburg where
he became associated with Balakirev. Lyapunov tended to be overshadowed by
this association and the strength of the influence of Balakirev is at once
clear from the opening pages of Lyapunov’s First Piano Concerto, which was
dedicated to that composer. This First Piano Concerto may seem derivative
and not especially inventive, but it is nevertheless very melodious and most
pleasing to the ear. The beguilingly lyrical piano writing is matched by an
attractive, colourful orchestral accompaniment, noble, heroic and wistfully
romantic. Tsintsabadze brings to bear a light and delicate poetic touch with
unbridled passion reserved for the Concerto’s climactic passages. This, together
with Yablonsky’s staunch accompaniment, proves this music is well worth exploring.
The Second Piano Concerto, again a single-movement work, was written 19 years
or so after the First. This too is tuneful, heroic and accessible. It begins
quietly and wistfully with delicate piano ornamentation and tranquil orchestral
comment. This is a richly romantic work with melodies that yearn softly then
passionately, proceeding to passagework that is fiercely defiant.
The pleasing Rhapsody on Ukrainian Themes begins with some evocative,
pastoral woodwind writing. The piano ripples over string material that sounds
derivative of Rachmaninov although the original source could well be folk
material used by both composers. The general influence of Liszt is more apparent
in this work. Again melody predominates. There is a grateful part for the
piano with glistening runs and sparkling arabesques. The patriotic assertions
are made more thrilling by full symphony perorations.
On this evidence I will be looking out for more music by Lyapunov: his Symphonies,
Violin Concerto and other works
Melodious and colourful music. Derivative? Perhaps, but so what when it is
delivered with such verve.
Ian Lace
Melodious and colourful music. Derivative? Perhaps, but so what when it is delivered with such verve.