Although each significant players in the Russian School of the nineteenth and early twentieth centuries, the piano concertos of Pavel Pabst, Rimsky-Korsakov, and Scriabin have been largely neglected by comparison to the other titanic piano concertos to come from the likes of Prokofiev, Tchaikovsky, and Rachmaninoff. Unlike their contemporaries, each of these three composers wrote but one piano concerto and in one way or another were writing outside of their comfort zone. Rimsky-Korsakov, for example, was a fine orchestrator ...
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Although each significant players in the Russian School of the nineteenth and early twentieth centuries, the piano concertos of Pavel Pabst, Rimsky-Korsakov, and Scriabin have been largely neglected by comparison to the other titanic piano concertos to come from the likes of Prokofiev, Tchaikovsky, and Rachmaninoff. Unlike their contemporaries, each of these three composers wrote but one piano concerto and in one way or another were writing outside of their comfort zone. Rimsky-Korsakov, for example, was a fine orchestrator, but had little experience writing for the piano. By contrast, Scriabin was a brilliant pianist and writer for his instrument, but his concerto represents his first attempt at writing an orchestral work. The results, as one might expect, are concertos that do not necessarily represent the pinnacle of each composer's compositional skills. Still, they merit performance and enjoyment. Pianist Oleg Marshev and the South Jutland Symphony Orchestra under Vladimir Ziva ensure that this is...
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