Album insights
Anton Stepanowitsch Arenski and Sergei Eduardowitsch Bortkiewitz may not be widely known by name. Arenski's charming Piano Trio in D minor and occasionally the waltz from his Suite for two pianos hold a modest place in chamber music repertoire. As for Bortkiewitz, apart from aficionados of obscure corners of piano repertoire, who has actually heard of him?
Arenski, born in 1861 in Novgorod, shared the birthplace with Balakirew, a significant influence on Russian music during the latter half of the 19th century. Unlike Balakirew, Arenski belonged to a circle of Chopin and Liszt devotees, lacking the same musical genius and aggressive nationalism. His talent bloomed early; by the age of nine, he had already composed some songs and piano pieces. Moving to St. Petersburg, he entered the conservatory in 1879 and completed his studies in 1882, a year after finishing his present piano concerto.
Arenski's Opus 2 clearly bears resemblances to Chopin and Tchaikovsky, with touches of Mendelssohn's melodious grace and Liszt's virtuosity. The piece, a comfortable one filled with well-worn ideas and hummable melodies, showcases Arenski's penchant for unusual meters, such as the 54-bar section in the Finale. While it captivated pianists back then, including a young Vladimir Horowitz, it later fell out of favor as superficial and second-rate. Despite early successes, including his Symphony No. 1 earning him a composition gold medal, Arenski's illustrious career didn't quite materialize as anticipated.
Following the success of his compositions, Arenski took on the role of professor at the Moscow Conservatory, attracting students like Rachmaninov, Skryabin, and Gretschaninow. His relocation to St. Petersburg as the head of the imperial chapel marked a shift back to the city, leading to a creative era influenced by Russian themes in a cosmopolitan guise. His work, "Fantasy on Russian Folksongs Op. 48," a pleasant rhapsody based on two folk tunes collected by music ethnologist Trophim Rjabinin, offers a delightful listening experience.
Bortkiewitz, born in Charkow in 1877 and a fellow Russian like Arenski, shared a passion for music inherited from his mother. While not a skilled solo pianist compared to his contemporaries, Bortkiewitz found success in teaching and composing, leaning towards academic pursuits rather than performance. His piano concerto, a gem of evocative themes and lush orchestration, continues to captivate listeners, showcasing his melodic and romantic flair, beloved by collectors.
Both artists present a unique perspective, gracefully contributing to the musical narrative, where mastery and elegance, rather than revolutionary fervor, carve their musical legacy. Their works offer a respite from the avant-garde, reminding us that in the realm of music, there's space for those who creatively engage with tradition without forcefully propelling us towards an uncertain future.