Sergei Lyapunov: Piano Music

Catalogue No: TOCC0218
EAN/UPC: 5060113442185
Release Date: 2013-11-04
Composer: Sergei Lyapunov
Artists: Margarita Glebov

The piano music of Sergei Lyapunov (1859-1924) blends the Russian nationalism of the Balakirev circle — of which Lyapunov was a member — with the virtuosic tradition of Liszt. Although his superb piano-writing combines contrapuntal dexterity and a rich vein of lyricism, much of his output for piano has been neglected, and this chronological survey, covering three decades of Lyapunov's composing life, contains a number of first recordings.

Margarita Glebov, piano

Listen To This Recording:

    Three Pieces, Op. 1 (1888)

  1. No. 1 Étude in D flat major
  2. No. 2 Intermezzo in E flat minor
  3. No. 3 Valse in A flat major
  4. Two Mazurkas, Op. 9 (1898)

  5. No. 1 Mazurka in F sharp minor
  6. No. 2 Mazurka in D flat major
  7. Mazurka No. 5 in B flat minor, Op. 21 (1903)
  8. Valse-Impromptu No. 1 in D major, Op. 23 (1905)
  9. Valse-Impromptu No. 2 in G flat major, Op. 29 (1908)
  10. Mazurka No. 7 in G sharp minor, Op. 31 (1908)
  11. Scherzo in B flat minor, Op. 45 (1911)
  12. Sonatina in D flat major, Op. 65 (1917)

  13. I Allegretto
  14. II Andante
  15. III Allegro
  16. Valse-Impromptu No. 3 in E major, Op. 70 (1919)

7 reviews for Sergei Lyapunov: Piano Music

  1. :

    ‘…he was much more than merely a member of the Russian Nationalist school. His music at its best has beauty, passion and a Russian sensibility that in the right hands works magic. He is worthwhile in his own right. …Margarita manages to convey the emotional vibrancy of his music without sacrificing musical clarity. …Her beautiful phrasing, touch and articulate attack put her in the ranks of the top pianists, surely.’

    —Grego Applegate Edwards, Classical-Modern Music Review

  2. :

    ‘…Glebov’s affinity with Lyapunov’s distinctive brand of lyrical virtuosity, couched firmly in the language of the late 19th century, is complete.’

    —Jeremy Nicholas, Gramophone

  3. :

    ‘…And while he [Lyapunov] didn’t possess a distinct musical personality—sounding in any given piece like Chopin, Liszt, Balakirev, or Borodin—from the recordings of his music I’ve heard over the years, it is always good Chopin, Liszt, Balakirev, or Borodin. …Lyapunov is one of those composers who demonstrates that imagination, taste, and familiarity with his favorite instrument are more than enough to set a lack of originality to one side. …Glebov lives and breaths the style of this music with an ease that is a delight. The sound, as well, is first-rate.’

    —Barry Brenesal, Fanfare Magazine

  4. :

    ‘…Glebov is a Russian-American pianist trained in the great tradition of the Russian virtuosi and this is reflected in both the sheer skill and evident sympathy of her playing. …Scherzo in B flat minor Op.45 is a work of considerable power and panache. Glebov is very good at delineating the complex musical lines – this is a model of clear and sane playing. …Sonatina [Op.65] is a model of clarity both in terms of form and content. This is a highlight of the disc; the music seems particularly well aligned to Glebov’s sensibility. …the engineers have captured Glebov’s Steinway D piano with excellent natural presence. As mentioned, excellent liner-notes give real insight into both the life and music of this still too-little known composer. A wholly enjoyable disc.’

    —Nick Barnard, MusicWeb International<

  5. :

    ‘…Right from the first track, the influence of Chopin is evident. If Chopin had migrated East to Moscow from Poland rather than West to Paris, the opening Etude could have been composed by him. … As we move forward into the 1900s, the influence of Balakirev becomes stronger as their student-teacher relationship grew. …The largest works here, the Scherzo and Sonatina, take around 10 minutes and supply considerable Lisztian virtuosic flair. For those of us who enjoy the Russian piano school, from Glinka to Shostakovich and beyond, with its nationalism, use of folk materials, and often virtuosic writing, Toccata has supplied a memorable and necessary disc. Glebov proves herself an admirable champion of this music, and she wrote the excellent booklet essay on the composer. A second (also excellent) essay specifically on the piano music presented here is by former ARG contributor Donald Manildi. Recorded sound is superb, and you would be hard pressed to easily find any of this music on other recordings.’

    —James Harrington, American Record Guide

  6. :

    Another excellent release by Toccata Classics. From the Chopinesque soundworld of the opening track to the composer’s own mature voice at the close, via hints of Musorgsky and even foreshadowings of Godowsky, Margarita Glebov handles this beautifully lyrical yet strong and confident music with assurance and obvious affection. Although I would have liked more exaggeration of the mazurka rhythm in the relevant tracks, I find this disc as absorbing as the recent Alexandrov release. The recorded sound is, again, spot on for my taste, and I look forward to hearing more of this accomplished pianist in the future. Warmly recommended.

  7. :

    ‘Having listened to this disc it is almost inconceivable that these works are not better known or programmed more often in concerts. […]

    This is a really enjoyable disc of music by an unfairly neglected composer and these pieces show that they are worthy of far greater exposure on disc as well as in the concert hall.

    The Russian-American pianist Margarita Glebov plays everything with an attractive sensitivity which brings out the very best in the delicate nature of these pieces.

    Toccata is doing an extremely valuable job in its concentration on the piano works of some really unknown composers and bringing them out from obscurity. I noted in the accompanying brochure that they include more Russians such as Herman Galynin, Viktor Rosenko, Alexander Goldenweiser, Anatoly Lyadov and one of my great discoveries of 2013, Alexander Tcherepnin. Among these names there is bound to be much wonderful music to discover.’

    —Steve Arloff, MusicWeb International

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