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Lugansky - Glazunov, Piano Sonata No. 2 in E minor
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Alexander Glazunov (1865-1936)
Piano Sonata No. 2 in E minor, Op. 75 (1901)
Nikolai Lugansky, 2021
Moscow Philharmonic Society
[0:00] I. Moderato
[8:57] II. Scherzo. Allegretto
[14:52] III. Finale. Allegro moderato -
[18:13] . Fugue
[21:15] . Chorale/Coda
“Although the robust finale has themes of its own , it descends in thematic material and even a little in structure from the first movement, employing thematic transformation. A more obvious debt to the Liszt sonata is the fugue that opens the recapitulation, but the real fight of imagination is the coda - a brilliant transformation of the themes of the scherzo, in the style of a Russian cathedral choir answered by bells. This in turn is combined with the fugal subject, leading to a new version of the closing bars of the first movement, bravura octaves in the dotted rhythm which pervades the whole finale, and an astonishing drop in volume on the penultimate chord. “
- Leslie Howard
Piano Sonata No. 2 in E minor, Op. 75 (1901)
Nikolai Lugansky, 2021
Moscow Philharmonic Society
[0:00] I. Moderato
[8:57] II. Scherzo. Allegretto
[14:52] III. Finale. Allegro moderato -
[18:13] . Fugue
[21:15] . Chorale/Coda
“Although the robust finale has themes of its own , it descends in thematic material and even a little in structure from the first movement, employing thematic transformation. A more obvious debt to the Liszt sonata is the fugue that opens the recapitulation, but the real fight of imagination is the coda - a brilliant transformation of the themes of the scherzo, in the style of a Russian cathedral choir answered by bells. This in turn is combined with the fugal subject, leading to a new version of the closing bars of the first movement, bravura octaves in the dotted rhythm which pervades the whole finale, and an astonishing drop in volume on the penultimate chord. “
- Leslie Howard
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