Review By Record Geijutsu,June 2011
8.570462_The Record Geijutsu_062011_jp.pdf
Review By Barry Brenesal ,Fanfare,May 2011
“Lyapunov seems to have been able to produce his own music only by conjuring up the ghosts of other composers,” the article about him in Grove I opines, ignoring the fact that the same accusation—a lack of originality—could be thrown at nearly every highly regarded composer from the 18th century on back, and many excellent ones in the 19th and 20th, as well. But the cult of originality is receding now, and it should be possible to more properly assess the contributions of such Russian nationalists as Lyapunov in the light of this.
Review By Steven J Haller,American Record Guide,May 2011
Only last issue I waxed ecstatic about Yablonsky’s recording of Liapounov’s piano concertos and Ukrainian Rhapsody with Shorena Tsintsabadze, and already we have a splendid follow-up that will surely be welcomed by lovers of lush Russian music. Here is the heart and soul of Mother Russia writ large and played with great gusto and warmth by one of Russia’s foremost orchestras under committed leadership. Neither of these works might be casually dismissed as over-recorded—this is the only account of the Violin Concerto I know of outside of a long deleted monaural Melodiya LP.
Review By Martin Cotton,BBC Music Magazine,April 2011
If you have a soft spot for the late-Romantic violin concerto, you’ll enjoy Lyapunov’s. Like the far better known one by his near contemporary Glazunov, it’s in a single movement, with a variety of sections and moods, and begins in a very similar vein, with a solo theme which is a close relative…Maxim Fedotov does produce a rich sound from his instrument, and there’s rarely a sense of strain on the more virtuoso writing.
Review By Infodad.com,March 2011
Violinists seeking outlets for their virtuosity, and willing to go beyond the standard repertoire, have an unusually wide array of choices nowadays, as interest rises in long-forgotten but often very worthy violin concertos and other works that provide opportunities for both subtleties of technique and fireworks. Sergey Lyapunov’s very well-made Violin Concerto (1915, revised 1921) gives Maxim Fedotov plenty of chances to show his mettle, and gives listeners many opportunities to hear Tchaikovskian romanticism: some lovely themes, considerable challenges in passage work, and unceasing demands on the violinist for beauty of tone combined with impeccable phrasing. A single-movement work, this concerto effectively alternates sections that wear their heart quite deliberately on
Review By Remy Franck,Pizzicato,March 2011
Sergei Lyapunov (1859–1924) ist ein russischer Komponist, der erst entdeckt wird. Zu Recht, denn die beiden Werke, die auf dieser CD erklingen, sind sehr gute Musik, vor allem die Symphonie. Das einsätzige Violinkonzert mag keine einprägsamen Melodien haben, aber es bleibt einem gewiss durch den wundervoll lyrischen, weit ausschwingenden und wirklich brillanten Solopart in Erinnerung. Jeder Freund sublimen Geigenklangs muss hiervon begeistert sein, und Maxim Fedotov tut alles, um das zu erreichen.
Review By Terry Robbins ,The WholeNote,March 2011
Sergei Mikhailovich Lyapunov (1859–1924) was a Russian nationalist composer who studied with Balakirev and remained strongly influenced by him. His Violin Concerto in D minor, Op.61 is a one-movement work that sounds exactly as you would expect: big, Tchaikovsky-like melodies, a Romantic flow and a dazzling solo part. Maxim Fedotov is in superb form, with excellent support from the Russian Philharmonic Orchestra under Dmitry Yablonsky. The latter are also terrific in Lyapunov’s Symphony No. 1 in B minor, Op.12.
Review By B.A. Nilsson,Metroland Online (Albany, NY),February 2011
LYAPUNOV, S.M.: Violin Concerto / Symphony No. 1 (Fedotov, Russian Philharmonic, Yablonsky) 8.570462
LYAPUNOV, S.M.: Piano Concertos Nos. 1 and 2 / Rhapsody on Ukrainian Themes (Tsintsabadze, Russian Philharmonic, Yablonsky) 8.570783
Review By James Manheim,Allmusic.com,February 2011
Sergey Lyapunov was part of the generation of mostly lightly nationalist Russian composers trained by the Mighty Handful, in this case Mily Balakirev. Before long he became better known as a pianist than as a composer, and most of his music was forgotten. But the Naxos label has specialized in finding the nuggets among the gravel, and they’ve come up with one herein Lyapunov’s Violin Concerto in D minor, Op. 61. The work was composed in 1915, toward the end of his life, and apparently reflects a process in which he left some of his more generic Russian late Romantic influences behind. The chief attraction is in the violin writing, which is highly idiomatic despite the fact that the violin wasn’t Lyapunov’s instrument. The solo part is dense and
Review By Phil Muse,Audio Video Club of Atlanta,February 2011
Once again, Dmitry Yablonsky, at the helm of the Russian Philharmonic, weighs in on the side of the neglected music of Sergei Lyapunov. Neglected, did I say? Well, the composer’s Symphony No. 1 in B minor, Op. 12 and his Violin Concerto in D minor, Op. 61, in which violin soloist Maxim Fedotov lends his distinguished artistry to the proceedings, have each been preceded in the record listings only once before—by Vassili Sinaisky on Chandos for the former and Julian Sitkovetsky (Artek) for the latter.
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