ClassicsOnline Home » ARENSKY, A.: Piano Concerto / Ryabinin Fantasia / To the Memory of Suvorov / Symphonic Scherzo (Scherbakov, Russian Philharmonic, Yablonsky) > Review List

ARENSKY, A.: Piano Concerto / Ryabinin Fantasia / To the Memory of Suvorov / Symphonic Scherzo (Scherbakov, Russian Philharmonic, Yablonsky)

Composer(s):Arensky, Anton Stepanovich
Artist(s) Yablonsky, Dmitry, Conductor • Russian Philharmonic OrchestraScherbakov, Konstantin, piano
Period(s) Romantic
Genre Classical Music
Category ConcertosOrchestral
Catalogue 8.570526
Label Naxos
Quality   320kbps
Download and Stream

A student of Rimsky-Korsakov and later a teacher of Rachmaninov, Scriabin and Glière, Anton Arensky was a precocious composer whose youthful Piano Concerto combines Lisztian dramatic bravura with Chopin’s virtuosic lyricism, the 5/4 metre of its final movement finding its way into Tchaikovsky’s Sixth Symphony. The Symphonic Scherzo is probably also an early work, while the Fantasia on Russian Folksongs (also called Ryabinin Fantasia) of 1899 and To the memory of Suvorov (Pamyati Surova) of 1900, which celebrated General Suvorov’s triumphs in the Russo-Turkish War, are works of Arensky’s maturity.


Review By Giv Cornfield,The New Recordings, Cliffs Classics,April 2009

Anton Arensky was a pupil of Rimsky-Korsakov, and later taught Gliere, Rachmaninov and Scriabin. The youthful Concerto Op. 2 is a melodic, accessible work abounding in all the qualities that have endeared the Russian romantics. It has been recorded previously, but is nowhere as popular as his first Piano Trio of 1894. This is a new recording made last year in Moscow. Pianist Scherbakov is simply brilliant, and enjoys solid support from the Russian Philharmonic Orchestra and conductor Yablonsky.

Review By David Denton, Naxos,March 2009

Anton Arensky was undoubtedly a highly gifted composer, but history would point to a talent that went to waste as drink and gambling took its toll. That he promised so much is abundantly evident in the Piano Concerto composed while still a student at the St. Petersburg Conservatory. Opening with a highly charged allegro, the piano pounding octave passages that are mirrored in the orchestral accompaniment. A central movement of considerable beauty precedes a final scherzo without the same level of inspiration that has gone before. He was never numbered among the group of Russian nationalist composers, though he  occasionally delved into folk music for inspiration, and the only other work he composed for piano and orchestra involved two melodies from northern



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