Album insights
Glasunow's Piano Concerto No. 1, Opus 92, comprises two outer movements, with the second incorporating a blend of a slow section, playful elements, and a finale (Coda). The piece starts deceptively dark, leading to a grand declamation of the main theme in a Tchaikovskian manner, hinting at the impending climax. The unexpected second theme in E major bears a striking resemblance to Rachmaninoff's Symphony No. 2's famous slow movement, offering a nearly perfect paraphrase in harmony and melody. The development section creatively intertwines rhythmic diminution and thematic combinations. The reprise's climax sets the stage for a rhetorically stormy conclusion, following a specific structural progression.
A subsequent sequence of variations introduces a slow theme in triple meter and D-flat major, reflecting a tonal shift to C at the close, mirroring half-tone relationships between the first movement's themes. The ninth and final variation revisits the primary material succinctly, blending it with the variation theme in a dynamic yet concise summary. Throughout the variations, a tendency towards dance-like qualities and a seamless mastery of academic challenges are evident. The piece is dedicated to Leopold Godowsky (1870–1938), heard by Glasunow in a concert in St. Petersburg in 1905.
Piano Concerto No. 2, Opus 100, stands out in the unusual key of B major, concluding in E major. Unlike its predecessor, it deviates further from conventional composition, starting in a gentle, autumnal mood and evolving into a rich discourse between soloist and orchestra. The opening theme, introduced by the low strings without a prelude, serves as a central idea throughout. A secondary theme in G major is combined with the primary theme, leading to an Allegro section where the soloist moves freely with increased rhythmic vigor. A serene slow section follows, echoing the rhythmic and lyrical connections to Glasunov's Piano Sonata No. 1, Opus 74's slow movement. The development continues, introducing the secondary theme for further exploration. A dance-like scherzo transitions to the finale, evolving themes culminate in a chorale-like variant of the initial motif, infusing more energy and tension than expected.
While Glasunov incorporated only a portion of national elements into his oeuvre, Alexander Goedicke entirely rejected them in his more modest and abstract works. His Concert Piece in D major begins with a thematic motif explored by the pianist in a solo passage. The piece evolves into an Allegro molto sostenuto e maestoso, expanding previous thematic elements with a rhythmic makeover akin to Glasunov's style. The pianist's role remains decorative as the piece progresses through various themes and tempos, drawing parallels to other composers like Balakirev and Liszt.
The expectations in the lively Allegro agitato section are met, featuring orchestral phrases from earlier sections. Blurred boundaries between sections are created through reminiscences of previous structures and tempos. The extended reprise in H major includes a delicate cadenza, leading towards a robust finale. This finale hints at a comprehensive thematic integration in a quasi-Lisztian style, anchored in H major and celebrated with fervor and virtuosity by the pianist.