First recordings of Romantic-era piano miniatures by an overlooked figure among the "New Russian School" of composers known as "The Mighty Handful." "Irretrievably forgotten," wrote musicologist Richard Taruskin of C�sar Cui (1835-1918). Long regarded as a dilettante, Cui combined a distinguished military career-as an engineer, expert in fortifications, and Moscow professor-with prolific writing as one of Russia's most formidable music critics. He was a crucial advocate for the nationalist ideals of Glinka and Mussorgsky, even as his own music revealed a more cosmopolitan voice, steeped in the lyricism of Chopin and Schumann. In this first volume of Cui's complete piano works, pianist Marco Rapetti presents music composed between 1877 and 1888, from the Trois morceaux, Op. 8, to the Trois mouvements de valse, Op. 41. The recording includes charming sets of mazurkas and serenades, as well as two major cycles: the Suite, Op. 21-dedicated to Franz Liszt-and the Pi�ces caract�ristiques, Op. 40, dedicated to the Count and Countess de Mercy-Argenteau, tireless champions of Cui's music in Western Europe. Rapetti, acclaimed for his rediscovery of neglected Russian piano repertoire, has previously recorded Borodin and Lyadov for Brilliant Classics. His performances, described by Fanfare magazine as showing "perfect unanimity and a verve and �lan that bring out all the vividness of the orchestral works," affirm his standing as a pianist uniquely suited to illuminate Cui's lyrical, poetic world.
The principal flautist of the Danish National Radio Symphony Orchestra Toke Lund Christiansen together with the Orchestra’s solo pianist Per Salo launched on the French flute project a few months ago and found quite a few rarely performed repertoire. Many of the titles here are first recordings.
Lund Christiansen/Salo duo’s earlier release of flute works by Joachim Andersen (Kontrapunkt 32079) was a critical and commercial success.
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La Fl釦e Parisienne
$22.99
$17.99
CD
Kontrapunkt
Jun 15, 1994
KON 32186
History of the Russian Piano Trio, Vol. 3 / The Brahms Trio
Naxos
Available as
CD
$19.99
$9.99
Mar 26, 2021
Nikolay Rimsky-Korsakov’s influence as composer and teacher was profound in Russia and beyond, yet his chamber music has been overshadowed by his operas and orchestral works. The unfinished Piano Trio in C minor was completed by his son-in-law Maximilian Steinberg to reveal a substantial work of considerable depth. César Cui’s charming and lyrical Farniente is an arrangement from a piano original, while Borodin’s Piano Trio in D major is reminiscent of Mendelssohn in its joyous agility and nostalgic beauty. The Brahms Trio is one of the leading Russian chamber ensembles. Since its foundation in 1990, the trio has regularly appeared at prestigious international concert venues. Legendary musicians such as Tatiana Gaidamovich, Alexander Bonduriansky (Moscow Trio), Valentin Berlinsky (Borodin Quartet) and Rudolf Barshai have had a significant influence on the formation of the performing style and career of the trio. The Brahms Trio has made an invaluable contribution to enlarging the chamber repertoire by rediscovering unknown piano trios of Russian composers of the late 19th and early 20th century.
REVIEW:
The latest release in this excellent Naxos series of Russian Piano Trios features Rimsky-Korsakov’s rarely performed Piano Trio in C Minor, César Cui’s À Argenteau No. 2. Farniente (version for piano trio), and Alexander Borodin’s Piano Trio in D Major. Nikolay Rimsky-Korsakov’s chamber music has been overshadowed by his operas and orchestral works. The unfinished Piano Trio in C minor was completed by his son-in-law Maximilian Steinberg to reveal a substantial work of considerable depth. César Cui’s charming and lyrical Farniente is an arrangement from a piano original, while Borodin’s Piano Trio in D major is reminiscent of Mendelssohn in its joyous agility and nostalgic beauty. The outstanding, award-winning Brahms Trio, founded 1988, has performed and recorded much of Russian piano trio repertoire and has made a significant contribution to enlarging the chamber repertoire by rediscovering unknown music by Russian composers of the late-19th and early-20th century.
– New-Classics.co.uk
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History of the Russian Piano Trio, Vol. 3 / The Brahms Trio
$19.99
$9.99
CD
Naxos
Mar 26, 2021
8574114
SLAVONIC DUETS
DUX
Available as
CD
$21.99
$16.99
Oct 14, 2014
This new Dux release, Slavonic Duets, features the work of four romantic era composers of Eastern European and Russian origin: Stanisław Moniuszko (1819-1872, Aleksandr Dargomyzski (1813-1869), Cesar Cui (1835-1918) and Antonín Dvořák (1841-1904). Dvořák stands somewhat apart here in that the other three composers remained on European soil and were known to one another personally, whereas Dvořák came to America late in life. The outstanding Polish alto and Music Academy, Gdansk professor Jadwiga Rappé and mezzo Urszula Kryger are heard in the company of pianist Mariusz Rutkowski.
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SLAVONIC DUETS
$21.99
$16.99
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DUX
Oct 14, 2014
DUX1102
A Tribute to the Mighty Handful
Delos
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CD
$18.99
$14.99
May 13, 2016
The Mighty Handful, also known as The Five, were a group of prominent nineteenth century Russian composers who strived to produce a specifically ‘Russian’ style. The group consisted of Mily Balakirev, Cesar Cui, Modest Mussorgsky, Nikolai Rimsky-Korsakov, and Alexander Borodin. The Russian Guitar Quartet has chosen works by The Mighty Handful for this new release, reviving the lost tradition of seven-string Russian guitar quartet. These accomplished performers, all with solo careers of their own, perform these arrangements with purpose and passion, leading the listener on a journey through nineteenth century St. Petersburg.
LISZT Polonaise from Yevgeney Onegin. Le Rossignol. Chanson bohémienne. Abschied. Mazurka. March from Russlan and Ludmilla. Prelude to the Borodin Polka. Russian Galop. Tarantella by César Cui. Slavic Tarentella by Dargomyzhsky. 2 Anton Rubinstein songs. Autrefois • Alexandre Dossin (pn) • NAXOS 572432 (66: 25)
The Naxos traversal of Liszt’s complete piano music, which began in 1997, has now reached its 35th volume with Alexandre Dossin playing a fascinating program of transcriptions of Russian composers. Dossin’s bona fides as a Liszt player of distinction were established with his 2007 contribution to the series, a disc devoted to the Verdi transcriptions and paraphrases. This new release shows him in wide-ranging repertoire, from salon trifles such as the Chanson bohémienne of Bulakhov, through the resplendent setting of the Polonaise from Tchaikovsky’s Yevgeny Onegin, to the heartrending Abschied (Farewell), a simple song setting for Liszt’s beloved pupil Siloti.
The chief interest of this repertoire, however, is not its variety, but its chronology. Five of the transcriptions—those based on music of Alyabyev, Bulakhov, Glinka, and Vielgorsky—are souvenirs of Liszt’s Russian tours of the 1840s. The isolated Mazurka “composed by a St. Petersburg amateur,” possibly Vielgorsky, dates from 1856, during Liszt’s Weimar years. The remainder—including the Tchaikovsky Polonaise and the Borodin, Dargomyzhsky, and Cui transcriptions as well as the two Rubinstein songs—were all set by Liszt in 1880 or later. In other words, these final seven transcriptions are products of the last six years of Liszt’s life and thus contemporaneous with such late-style works as Czárdás macabre, the Hungarian Historical Portraits, Bagatelle without Tonality, Unstern!, and the several pieces memorializing Wagner.
The Polonaise from Onegin, easily the most familiar work on the disc, is given an extrovert reading that highlights its profusion of opulent pianistic detail without obscuring the overall structure and momentum of the dance. Dossin’s interpretation readily holds its own beside those older, famous ones of Cziffra and Ponti, and perhaps surpasses them in its unforced poise and characteristic voice. Dossin approaches Alyabyev’s The Nightingale, set by Liszt as a veritable mini-Russian rhapsody, with intelligence and finesse. Meanwhile, the quirky Circassian March from Glinka’s Russlan and Ludmilla, a virtuoso tour de force, fairly explodes with rhythmic acrobatics and kaleidoscopic colors.
The two tarantellas by Dargomyzhsky and Cui are particularly intriguing, reminding us that, during the 1860s, Liszt and Dargomyzhsky were among the first composers to experiment (independently) with use of the whole-tone scale—Dargomyzhsky in his opera The Stone Guest and Liszt in his melodrama Der traurige Mönch. Both tarantellas exemplify Liszt’s tendency in old age to transform the materials he transcribed, imbuing them with the radical harmonic and rhythmic characteristics of his own late style. In many cases, and certainly in these tarantellas, the originals are endowed with a “new formal and authorial weight,” as Jonathan Kregor has suggested in his pathbreaking study, Liszt as Transcriber (2010). Dargomyzhsky had been dead 10 years when his unprepossessing piano duet Slavic Tarantella was taken up by Liszt and expanded into a haunting and concert-worthy piano solo. The longest piece on the program is the Tarantella by César Cui, possibly Liszt’s very last transcription of another composer’s work. Kregor points out that Cui’s orchestral original had been in circulation for more than 25years when Liszt decided to transcribe it. Liszt expands, emends, and amplifies the material in a way that elevates this folk dance to a veritable metaphysical realm. If proof were needed that the acuity of Liszt’s perceptions and the richness of his imagination remained undiminished to the end, the Tarantella by César Cui provides ample testimony.
It is hard to imagine a more eloquent spokesman for this repertoire than Dossin. Though he is by birth and upbringing Brazilian, the nine years he spent studying in Moscow lend an unmistakable authenticity to his voice in Russian music. Moreover, Dossin’s refined and multifaceted pianism, combined with his formidable intellectual and musical grasp, make him one of the more remarkable Liszt interpreters before the public today.
"The Mighty Handful, or Mighty Five as they are sometimes called, are Mussorgsky, Balakirev, Borodin, Rimsky-Korsakov and César Cui. Together they embody the nationalist tradition in 19th-century Russian music. They are rarely programmed as a group, so Philip Edward Fisher's decision to fashion a recital from the works of all five has considerable appeal...Borodin's Petite Suite comes over as a work of exquisite grace and melodic charm that deserves to be much better known. It suits Fisher's refined style rather well, too..."
- The Guardian, London
On his first solo recital disc for Chandos, Philip Edward Fisher performs piano works by members of the so-called ‘Mighty Handful’, a group of five Russian composers – César Cui, Alexander Borodin, Mily Balakirev, Modest Mussorgsky, and Nikolay Rimsky-Korsakov – who in the 1860s banded together in an attempt to create a truly national school of Russian music, free of the perceived stifling influences of Italian opera, German lieder, and other western European forms.
The Mighty Handful were all self-trained amateurs. Borodin combined composing with a career in chemistry; Rimsky-Korsakov was a naval officer; and Mussorgsky had been in the Guards, then in the civil service, before taking up music. They tried to incorporate in their music what they heard in village songs, in Cossack dances, in church chants, and the tolling of church bells; in short, the music of the Mighty Handful was brimming with sounds that echoed Russian life. From the more traditional, Chopin-esque Nocturne by Cui through to the technical innovations and strong Caucasus folk elements of Balakirev’s Islamey, the works here all show the composers’ strong connections with the past and the compositional innovations that would come to influence the likes of Prokofiev and Stravinsky, and help change the course of Russian music for years to come.
A graduate of the Royal Academy of Music and The Juilliard School, the pianist Philip Edward Fisher is widely recognised as a unique performer of refined style and exceptional versatility. He has performed across Europe, Africa, and North America where he made his New York debut at Alice Tully Hall in 2002, performing Rachmaninoff’s Third Piano Concerto, and has also appeared at the Merkin Concert Hall and the Avery Fisher Hall at Lincoln Center.
At home he has given performances at the Purcell Room, Wigmore Hall, Barbican Centre, and Royal Festival Hall in London, Usher Hall in Edinburgh, Glasgow Royal Concert Hall, and Symphony Hall in Birmingham. He has appeared as a soloist with the Royal Scottish National Orchestra, Copenhagen Philharmonic Orchestra, Toledo Symphony Orchestra, and Juilliard Symphony Orchestra, and worked with performers such as exclusive Chandos artist bassoonist Karen Geoghegan, the tenor Robert White, pianist Sara Buechner, and violinists Elmar Oliveira, Philippe Graffin, and Augustin Hadelich. In 2001, Philip Edward Fisher received the Julius Isserlis Award from The Royal Philharmonic Society in London. - Chandos
Piano Works by the Mighty Handful / Fisher
$21.99
CD
Chandos
May 31, 2011
CHAN 10676
Cui: Complete Piano Music, Vol. 2
Piano Classics
Available as
CD
$19.99
May 15, 2026
This valuable revival of the piano music by Cesar Cui began with a 2CD volume played by Marco Rapetti (PCL10211), surveying the composer's early output from 1877 to 1888. Born in what is now Vilnius, capital of modern-day Lithuania, Cui began to learn the piano as a child, initially from his elder sister. His first and last compositions were written for the piano, and he produced 29 opus numbers for the instrument (the total opus catalogue reaches 106). The Australian pianist Paul Rickard-Ford now moves the project on with a chronological survey from the Quatre Morceaux Op. 22 of 1883 to the Theme and Variations Op. 61, from 1901. Dedicated respectively to Theodore Leschitzky and to Josef Hofmann, these pieces show how admired Cui was in his day, even if he is now generally treated as the forgotten member of the 'Mighty Handful' group of Russian composers. One of Liszt's final works was a piano transcription of Cui's orchestral Tarantelle Op. 12. Other collections on the album are dedicated to Anton Rubinstein (the two Polonaises Op. 30) and to Hans von B�low (three Impromptus Op. 35), as well as a charming pair of Bluettes Op. 29 dedicated to the Countess de Mercy-Argenteau, who was Cui's generous patron and indefatigable supporter outside Russia. Many of the pieces here are receiving their world-premiere recordings, such as the four pieces composed in 1900-01 and collected as Op. 60. They include a Polka, a Novelette, a Mazurka, and a Polonaise: all familiar genres, which Cui inflected with his individual brand of Russian-accented lyricism, ultimately drawing on an early-Romantic lexicon of expression formulated by Chopin and Schumann. Thus all the music here belongs to the salon, designed first and foremost to charm and to entertain. Paul Rickard-Ford has been on the staff of the Sydney Conservatorium for more than thirty years and was Chair of the Piano Unit from 2006 to 2016. His discography includes the Ann�es de p�lerinage of Liszt, as well as recitals of Chopin and Schumann.
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