The Mighty Five

The Mighty Five

Balakariev

Sonata in B-flat minor

The Sonata’s first movement opens with a somewhat Middle Eastern twist, as a fugue. The melody is always searching for higher ground but doesn’t quite find it. Second movement arrives, more dramatic as a Mazurka. The melody in the third movement, with the broken-chord accompaniment creates a fantasy like effect, and makes for an ambiguous character. In addition, the rhythm of the melody doesn’t quite have a pulse, but is more narrative in its delivery. The last movement is very stately and folk like. The most ‘Russian’ sounding of the three movements, the fourth has much more expansive texture.

Islamey

As impressive as Islamey really is (when played well).., it still does not impress me as much as Scarbo. Although an exciting dance, utilizing crossing of hands, and octave glissandi, the ideas posed do not move me as much as the writing of Ravel. A rambunctious showpiece, with a loud section, followed by a tender section, with a reprise of the loud, makes for crowd-pleasing work. Now as much as I dog this piece, the one characteristic that puts it in the limelight, it the strong sense of rhythm and pulse. It is these two traits that hold the piece together, and allow for variations to be built on and develop.

Cui

Preludes, Op. 64

This set of preludes, is very much in vein of Chopin’s set. Each has its own individual character, yet it is expressed in the shortest amount of time. Very much like miniatures. However, the rhythm for the best part is rather steady, and the use of large chords often makes it sound chorale like. Very beautiful and melodic, although he often uses many dotted rhythms to create a march like feel, his music does not sound as patriotic as the other four. Guess it helps to be born on the mainland. Strange man..