Lyadov: Piano Music | CD review

Anatoly Lyadov (1855-1914) is probably the only composer whose greatest claim to fame is that he made musical history by default. He failed to complete a commission from Diaghilev for the ballet that eventually became The Firebird, thus paving the way for Stravinsky's emergence when Diaghilev offered him the commission in Lyadov's place. This disc marks the start of the first complete cycle of his piano music, and is a reminder of what a fine composer he could be within the narrow range in which he worked. The album covers the period from 1876 to 1885, which marks the emergence of what proves to be a very individual voice. Schumann's influence is strong on the early Biryulki (1876), but by the time we get to the Six Morceaux Op 3 from the following year, we notice elements of pointillism, fragmentation and aggression. The high points are the Op 7 Intermezzi and also the Op 11 Morceaux, in which Lyadov's ability to combine emotional weight with compactness yields striking results. Olga Solovieva plays it all with great finesse, but is also not afraid to really let rip when required.