Review - ‘Russian Variations’ (Piers Lane)

Jonathan Dobson
Friday, May 24, 2024

‘His playing throughout this album is of the highest order, his pianism unfussy, subtle and effortlessly efficient’

‘Russian Variations’ is the title – and theme – of Piers Lane’s new release from Hyperion. The inclusion of Field in the programme is significant as he spent most of his working life in Russia and did much to shape Russian pianism in the 19th century – his 1818 Variations on a Russian Folk Song is typically elegant but rather insubstantial in scale, which can’t be said of Rachmaninov’s Chopin Variations, composed in 1902‑03. This was Rachmaninov’s first large-scale solo piano work, yet his command of texture and harmony and his characteristic melodic signature appear fully formed. Personally, I’ve never felt this work hangs together effectively: there are moments of greatness – and plenty of references to other works, including the Cello Sonata and Second Piano Concerto – but also areas that sound bombastic and over-complex, such as Var 22, where he seems unable to find a good place to stop. For me, this is not a masterpiece but a portent of greater things to come. (Interestingly, Busoni’s Variations on the same Chopin Prelude is also his Op 22.)

Glazunov’s Theme and Variations, Op 72, is one of his more familiar piano works – I remember this from an old Saga LP played by an elderly Leff Pouishnoff (reissued by APR) – but the Six Pieces by Tchaikovsky are something of a rarity, beautifully played here by Lane. As an artist, Piers Lane has reached a point in his career where there is nothing left to prove. His playing throughout this album is of the highest order, his pianism unfussy, subtle and effortlessly efficient, letting the music speak for itself rather than drawing attention to his own craft and artistry – rather similar to Benno Moiseiwitsch at his best. In each of these four works, Lane manages to produce a different sonority and shifts seamlessly from one style to another: Tchaikovsky doesn’t sound like Rachmaninov, and Glazunov sounds different to both. This is quite a trick to pull off effectively. The piano sound, engineering, notes and presentation are all up to Hyperion’s usual high standards.


‘Russian Variations’

Field Variations on a Russian Folk Song Glazunov Theme and Variations, Op 72 Rachmaninov Variations on a Theme of Chopin, Op 22 Tchaikovsky Six Pieces on a Single Theme, Op 21

Piers Lane pf

Hyperion CDA68428


This review originally appeared in the Summer 2024 issue of International Piano. Never miss an issue – subscribe today

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