Welcome Treatment of Neglected Glazunov Pieces for Keyboard

GLAZUNOV: The Piano Sonatas; Three Etudes; “Grande Valse de Concert.” Massimiliano Damerini, piano. Etcetera KTC 1118. In these quietly engaging keyboard pieces, Glazunov shuns both the nationalistic style of his teacher, Rimsky-Korsakov, and the heart-on-the-sleeve romanticism of his contemporary, Rachmaninoff, steering a more restrained course, with well-focused melody, shimmering, not overly showy accompaniment and a civilized expressiveness. Amid such sanity one can admire the craftsmanship, the measured poise, of these compositions. Genovese pianist Damerini provides wonderfully fluid, vital yet subtle readings--a welcome exploration of neglected territory.

CHABRIER: Orchestral Works. ROUSSEL: Suite in F, Opus 33. Detroit Symphony, conducted by Paul Paray. Mercury Living Presence 434 303-2. It is difficult to understand why we don’t hear these big, splashy orchestral works of Chabrier more often. Perhaps it is because they seem, like his popular “Espana” (included here), too fun and showy to be considered seriously. But surface charms deceive. Close listening reveals a uniqueness of phraseology, sophistication of rhythm and boldness of harmony that demand respect even while the music leaps with artless vitality. Also included on the disc, culled from several old Mercury recordings, is Chabrier’s atypically Wagnerian Overture to “Gwendoline” and Roussel’s oddball neoclassical Suite in F, all brilliantly and buoyantly, if now and then scruffily, executed by the Detroit Symphony under French conductor (it takes no less) Paray.

HAROLD SHAPERO: Three Piano Sonatas; music by Fine, Ruggles and Menotti. Michael Boriskin, piano. New World Records 80402-2. L.A. Philharmonic watchers will remember the successful revival and recording of Shapero’s “Symphony for Classical Orchestra” a few seasons back. The three sonatas recorded here are cut from the same cloth as the symphony, with sophisticated allusions to Haydn and Beethoven. Scampering counterpoint, witty syncopation and spare textures characterize these crafty, urbane pieces. Also included: Irving Fine’s cheery “Music for Piano,” Carl Ruggles’ typically intense and acerbic “Evocations” and Gian Carlo Menotti’s familiar Ricercare and Toccata. One could imagine more drivingly kinetic performances of some of these pieces, but Boriskin reveals plenty of finesse and elegance.