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Violin Concerto Symphony No.1

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Product Details

  • Performer: Fedotov; Yablonsky; Russian Philharmonic Orchestra
  • Composer: Lyapunov Sergey Mikhaylovich
  • Audio CD (Jan. 25 2011)
  • Number of Discs: 1
  • Label: Ncl
  • ASIN: B004DIPL7M
  • Average Customer Review: 5.0 out of 5 stars  See all reviews (1 customer review)
  • Amazon Bestsellers Rank: #100,406 in Music (See Top 100 in Music)

Product Description

Sergey Mikhaylovich Lyapunov belonged to the second generation of Russian nationalist composers who were professionally trained and strongly influenced by Balakirev and his associates. His Violin Concerto has 'a gorgeous solo part, big tunes, high energy,

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Most helpful customer reviews

1 of 1 people found the following review helpful By Sverre Svendsen TOP 500 REVIEWER on April 5 2011
Format: Audio CD Verified Purchase
Lyapunov's compositional efforts were overshadowed by Balakirev's influence which, it could be said, hampered his freedom of expression. Symphony No. 1, completed in 1887, is a prime example of this influence and it can be asserted that Balakirev's ghost haunts its somewhat stolid structure and tonality. Nevertheless, it is a fine example of traditionally conservative late nineteenth century Russian orchestral composition, giving voice and nuance to every instrument. It presents a tapestry of somber, tranquil, spirited and triumphant harmony.

Lyapunov's violin concerto was written in 1915 and revised in 1921, years after Balakirev's death in 1910. This is perhaps one of the top ten violin concertos composed in the twentieth century but receives little accolade due to Lyapunov's relative obscurity. Orchestration is inventive and the themes emotionally vibrant. Violinist Maxim Fedotov's performance is enchantingly haunting but also spontaneously precise. With impeccable timing, maestro Dmitry Yablonsky allows his musicians the sensitive intonational expressions required in support of the soloist. This CD has become one of my favourites.

Piano Concertos Nos. 1 and 2
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Most Helpful Customer Reviews on (beta) 2 reviews
9 of 9 people found the following review helpful
Get it for the Concerto Feb. 1 2011
By AndrewCF - Published on
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.
9 of 10 people found the following review helpful
Grand Russian Violin Concerto Feb. 19 2011
By Stephen Adams - Published on
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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