Anatoly Lyadov - Piano Works (Stephen Coombs)

Information

Composer: Anatoly Lyadov

1. Variations on a Polish folk theme, Op. 51
2. Marionettes, Op. 29
3. 3 Pieces, Op. 11: 1. Prelude in B minor
4. 3 Pieces, Op. 11: 2. Mazurka in the Dorian Mode
5. 3 Pieces, Op. 11: 3. Mazurka in F sharp minor
6. 2 Pieces, Op. 24: 1. Prelude in E major
7. 2 Pieces, Op. 24: 2. Berceuse in G flat major
8. 3 Pieces, Op. 57: 1. Prelude in D flat major
9. 3 Pieces, Op. 57: 2. Waltz in E major
10. 3 Pieces, Op. 57: 3 Mazurka in F minor
11. Little Waltz in G major, Op. 26
12. 3 Preludes, Op. 36: No. 1 in F sharp minor
13. 3 Preludes, Op. 36: No. 2 in B flat minor
14. 3 Preludes, Op. 36: No. 3 in G major
15. A Musical Snuffbox, Op. 32
16. Barcarolle in F sharp minor, Op. 44
17. 4 Pieces, Op. 64: 1. Grimace
18. 4 Pieces, Op. 64: 2. Gloom
19. 4 Pieces, Op. 64: 3. Temptation
20. 4 Pieces, Op. 64: 4. Reminiscences
21. Variations on a theme by Glinka, Op. 35

Stephen Coombs, piano
Date: 1997
Label: Hyperion
http://www.hyperion-records.co.uk/dc.asp?dc=D_CDH55309

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Review

Liadov’s notorious indolence kept him from ever achieving all that his admirers hoped, but some of his orchestral pieces have worn quite well, and the piano music deserves to find a modest place in more recitals than it does. The most substantial work here – at any rate in terms of length – is the Glinka Variations, quite a wide-ranging set that owes a good deal to Glinka’s own sets of variations, and in turn to the pieces that amused St Petersburg salons in the early years of the nineteenth century. Glinka is, again, an exemplar for some of the mazurkas, though they also owe a debt to Chopin, in manner – such as the use of descending chromatic harmonies – if not in originality and enterprise. However, Liadov has a voice of his own. It includes a Russian appreciation of prettiness – what Tchaikovsky called le joli – which has made Marionettes and especially the Musical snuffbox popular. He also has a very Russian elegance in his turns of phrase, and melodies sometimes tinged with melancholy. It seldom breaks out into anything more, though one of his rare stormy moods is captured in the violent B flat minor Prelude from Op. 36. One of the finest pieces in this well-chosen recital is the Barcarolle in F sharp, Op. 44. Scriabin was another influence, as can be heard in the Four Pieces, Op. 64: Liadov’s appreciation of the younger man’s musicianship was cordially returned.

This is an attractive recital, sympathetically played by Stephen Coombs and given a lucid recording. It does much to suggest why Liadov always had so many admirers.

-- John Warrack, Gramophone

More reviews:
http://www.musicweb-international.com/classrev/2008/Sept08/Liadov_cdh55309.htm
http://www.classical-music.com/review/liadov

http://www.amazon.com/Marionettes-Musical-Snuffbox-Other-Piano/dp/B001AYAKSC

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Anatoly Lyadov (May 11 [O.S. April 29] 1855 – August 28 [O.S. August 15] 1914) was a Russian composer, teacher and conductor. While Lyadov's technical facility was highly regarded by his contemporaries, his unreliability stood in the way of his advancement. His published compositions are relatively few through his natural indolence and a certain self-critical lack of confidence.

http://en.wikipedia.org/wiki/Anatoly_Lyadov

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Stephen Coombs (born Birkenhead, July 11, 1960) is an English pianists. Aside from standard repertoire, he has become particularly well known for his interpretations of works by lesser-known late-Romantic composers. Coombs has achieved acclaim for his recordings in the massive Hyperion series The Romantic Piano Concerto.
http://www.allmusic.com/artist/stephen-coombs-mn0002342760/biography

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