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Most Helpful Customer Reviews
Format:Audio CD
Aficionados of Russian repertoire will already know the Violin Concerti of Tchaikovsky (1878) and Glazunov (1904), each full of energy, rhythmic drive and memorable melodies so typical of Russian Romantic music. This Lyapunov concerto dates from 1915 (revised in 1921), although, to my ears, it sounds more like a 19th Century composition (thus, in a musical context, placing it c.10 years AFTER Stravinsky's Firebird, Petroushka and Le Sacre du Printemps). It's written in a single, almost rhapsodic, movement lasting c.23 minutes, including a rambling, but technically demanding cadenza. Melodies are far less memorable than other Russian violin concerti, although there are genuine moments of gentle wistfulness. If you want to get to know Russian Violin Concerti after Tchaikovsky and Glazunov, you may find more pleasure and musical interest in hearing those written by Arensky (1902) and, yes, even the Myaskovsky of 1938 (did he live in a time-warp?). Incidentally, the violin soloist here really makes the most of his opportunities to shine.
Lyapunov's First Symphony is an earlier work, dating from 1887, and all the better for it (although less memorable than Tchaikovsky 5th Symphony of 1888). It has plenty of rhythmic drive and cross-rhythms, many memorable melodies, a scampering scherzo, and frequent examples of characteristic Russian orchestral sonority. I enjoyed the symphony far more than the Violin Concerto, but as a wind player myself, I suppose that was inevitable. The orchestral sound and tuning were also pretty decent, with typically lush Russian string sound, plenty of delicious lower-strings sonority, and occasional touches of gorgeous lower brass. If you know the Borodin and Balakirev symphonies (and you should!), you will find many parallels here, and much to enjoy.
Lyapunov's First Symphony is an earlier work, dating from 1887, and all the better for it (although less memorable than Tchaikovsky 5th Symphony of 1888). It has plenty of rhythmic drive and cross-rhythms, many memorable melodies, a scampering scherzo, and frequent examples of characteristic Russian orchestral sonority. I enjoyed the symphony far more than the Violin Concerto, but as a wind player myself, I suppose that was inevitable. The orchestral sound and tuning were also pretty decent, with typically lush Russian string sound, plenty of delicious lower-strings sonority, and occasional touches of gorgeous lower brass. If you know the Borodin and Balakirev symphonies (and you should!), you will find many parallels here, and much to enjoy.
2 of 3 people found the following review helpful
Format:Audio CD
Good Music, well played, easy to listen to.
Recommended for peole who want to investigate not so well known Russian music.
Recommended for peole who want to investigate not so well known Russian music.
Most Helpful Customer Reviews on Amazon.com (beta)
Amazon.com:
2 reviews
9 of 9 people found the following review helpful
Get it for the Concerto
1 Feb 2011
Format:Audio CD
Symphony 1 / Piano Concerto 2Lyapunov: Symphony No. 1; Solemn Overture; Balakirev: Islamey
Lyapunov's Violin Concerto is unjustly neglected, both in the concert hall and on disc. It has all the ardor and dash of the piano concertos and seems to be more in keeping with Rachmaninov rather than the Expressionist school. Maxim Federov gives a spirited and distinguished performance, perhaps missing the last word in refinement. Nevertheless, his cadenza is well-executed and he inspires the orchestra to give a glistening performance.
Unfortunately, the same can't be said for Yablonsky's conducting of the Symphony No. 1. Ironically, Yablonsky shows the same lack of faith in the material as Balakirev showed Lyapunov, influencing the composer to alter his inspiration. Yablonsky's performance can only be described as routine and even enervated. There is some unsteady solo work in the first movement. More lively and refined performances can be found on Chandos (Sinaisky) and Svetlanov's Russian recording (on his own label).
At the Naxos price, this disc is well worth having for the rare Violin Concerto.
Lyapunov's Violin Concerto is unjustly neglected, both in the concert hall and on disc. It has all the ardor and dash of the piano concertos and seems to be more in keeping with Rachmaninov rather than the Expressionist school. Maxim Federov gives a spirited and distinguished performance, perhaps missing the last word in refinement. Nevertheless, his cadenza is well-executed and he inspires the orchestra to give a glistening performance.
Unfortunately, the same can't be said for Yablonsky's conducting of the Symphony No. 1. Ironically, Yablonsky shows the same lack of faith in the material as Balakirev showed Lyapunov, influencing the composer to alter his inspiration. Yablonsky's performance can only be described as routine and even enervated. There is some unsteady solo work in the first movement. More lively and refined performances can be found on Chandos (Sinaisky) and Svetlanov's Russian recording (on his own label).
At the Naxos price, this disc is well worth having for the rare Violin Concerto.
7 of 8 people found the following review helpful
Grand Russian Violin Concerto
19 Feb 2011
Format:Audio CD
My opinion of the music agrees with the previous reviewer's. Lyapunov's Concerto is in the grand romantic manner, in a single movement, the violin entering immediately and dominating with singing melody and pyrotechnics. The slow section is beautiful -- the final section sputters a bit until a great razzle-dazzle cadenza. It has the virtue (rare for Lyapunov) of conciseness. Dmitry Fedotov plays brilliantly, with a wide Russian vibrato and fat tone. It's all somewhat generic, but thoroughly enjoyable. The Symphony, on the other hand, is less persuasive. It has fine moments -- an appealing slow movement, a scherzo with a nice rocking motif. The ghost of Borodin lurks everywhere. But the outer movements betray Lyapunov's deficiencies in counterpoint and development, with the result that the repetition of the motif that's supposed to "unify" (under Balakirev's ultra-critical eye) simply becomes wearisome. The longer Second Symphony (under Svetlanov on Naive) shows similar problems.
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