Russian Variations

by Bill Heck

John Field: Variations on a Russian Folk Song; Alexander Glazunov: Theme and Variations, Op. 72; Pytor Tchaikovsky: 6 Pieces, Op. 21; Serge Rachmaninoff: Variations on a Theme of Chopin, Op. 22. Piers Lane, piano. Hyperion CDA68428

Now this is the kind of album that I really enjoy reviewing: music that is off – but just barely off – the beaten path but still very much worth hearing, played flawlessly, and nicely recorded. What's not too like?

As quickly becomes apparent upon listening, the title of the album accurately describes the works here, even though the pieces are not all named "variations". Let's start with the short (6:00 minute) piece by John Field, which dates from 1818. The excellent liner notes for this release say that many listeners might think of something between Mozart and Chopin and that's not a bad description at all. Heard here, not only the composition but also Lane's playing straddles that line, with a delicacy of touch that really does sound Mozartian but arrangement of shading and emotion that is indeed Chopinesque.

Our second composer, Alexander Glazunov, unfortunately makes it into the consciousness of many classical music lovers today as the possibly drunken conductor of the disastrous premiere of Rachmaninoff's First Symphony. While conducting wasn't his strong suit, and alcohol was a significant factor in his life, his contemporaries thought highly of him; as these variation show, he was a highly skilled composer.  The theme that Glazunov works with could hardly be simpler, but the variations he produces are quite wide ranging and imaginative within a late romantic context. You won't hear the rhythmic excursions and harmonic dissonances produced by his somewhat younger near-contemporaries such as Stravinsky, Prokofiev, and Shostakovich, but you will hear much beauty without mere sentimentality. Lane's playing provides perfect atmosphere, providing an almost dream-like quality punctuated as appropriate by outbursts of energy.

The six pieces by Tchaikovsky each can stand alone, but they really are built around the same theme, even though the theme is sometimes difficult to find. No matter, though: this is Tchaikovsky at his most imaginative and his most willing to try out various forms. For instance, in the first variation, "Prelude", the jarring use of minor sevenths suggests to my twenty-first century-influenced ears that he was warming up for a blues session. Naturally there's much more here than that, but the brief moment illustrated to me the adventurous road that Tchaikovsky was traveling here. In the next movement, a fugue for four voices, our composer is showing that he too, can write counterpoint, suggesting shades of J S Bach. And so it goes, with wonderful creativity through all six of these surprising works.

Piers Lane

And then there are Rachmaninoff's "Variations on a Theme of Chopin". And yes, as enjoyable as the previous works have been, this is a case of saving the best for last. One of Rachmaninoff's earlier compositions, written as he was finally emerging from the depression that followed the disaster of the First Symphony (see above), this is one of the composer's first really large efforts for solo piano, with the original statement of the theme followed by no fewer than 22 variations, clocking in at nearly 29 minutes. The booklet gives a nice high-level summary; I won't attempt to repeat that, but certainly can say that these variations are truly variable, ranging from slow, almost dirge like meditation to joyous exultation. By the way, Rachmaninoff's trademark Dies Irae shows up, blending remarkably with the main theme. While perhaps not as well-known as Rachmaninoff's later masterworks, this clearly is the effort of a major composer, one that will reward repeated hearings.

I blush to admit that I was not familiar with the recordings of Piers Lane, who has a prodigious output on the Hyperion label both as a soloist and a chamber musician. Many of his recordings are like this one in that “off the beaten path” sense that I mentioned earlier, which I say counts as a service to classical music lovers everywhere. A quick look around the Web reveals a high level of critical acceptance of his work, and there certainly will be no dissent here: his playing is wonderfully adjusted to the shifting moods and requirements of these works, and is, of course, technically sure.

As usual with Hyperion, the recorded sound is excellent. The album is available on CD, in a variety of downloadable formats, and also on major streaming services. Easily recommended.