Balakirev's Piano Concerto No. 1, like Scriabin's, emulates Chopin in style and technique, if not mastery of the idiom (that would come later). It's a...

Balakirev's Piano Concerto No. 1, like Scriabin's, emulates Chopin in style and technique, if not mastery of the idiom (that would come later). It's a tuneful work with melodies that are more fetching than long-term memorable. The piano writing is fluid and colorful, even if it doesn't sound especially challenging, at least in the highly-skilled hands of Anastasia Seifetdinova.

Although completed by Sergei Lyapunov, Piano Concerto No. 2 sounds more like the Balakirev we know from the symphonies. The musical argument is more dramatic and the melodic material is distinctively Russian, especially in the touching Adagio movement, the work's emotional center. Balakirev's piano writing has grown more evocative while becoming more technically demanding. Again, Seifetdinova handles these challenges with aplomb.

Finally, Balakirev's early Grande Fantaisie on Russian Folksongs is reminiscent of the composer's symphonic poem Tamara in its exotic themes and narrative style, wherein the piano, with its extended solo passages, takes on the role of story teller. All three works receive excellent orchestral performances by the Russian Philharmonic under Dmitry Yablonsky. The rich-sounding recording nicely balances soloist and orchestra. An enjoyable release, for Russophiles and piano fans alike.

--Victor Carr Jr, ClassicsToday.com