Sergei Bortkiewicz must be a pen-name. Judging from the sound of these two symphonies, his real name was Nikoxander Glazimsky-Balatchaikmaninov! Containing not the smallest vestige of originality regarding form, content, orchestration, or emotional range, these are nonetheless wholly winning examples of the Russian Romantic style, and since just about everyone loves the composers that Bortkiewicz so effortlessly mimics, there’s no reason not to love these works too. Never mind that both were composed well into the 20th century (the composer died in 1952). Like the art restorer whose original works could pass for the authentic masters he copies, this is so close to the genuine article as to make no difference.
Among the First Symphony’s abundant charms, there’s a scherzo that begins with an extensive pizzicato section à la Tchaikovsky’s Fourth, and a “popular festival” finale straight out of Balakirev, with an irresistibly catchy principal tune (which is a good thing because like most Russian Romantic folk-inspired finales, you’re going to hear a lot of it). The darker Second Symphony, more austerely scored, strongly echoes late Tchaikovsky and Rachmaninov. One additional factor that makes these two symphonies so attractive is their comparative brevity–between 30 and 40 minutes apiece, perhaps reflecting Glazunov’s conservative formal leanings.
Martyn Brabbins and the BBC Scottish Symphony offer gripping performances, with particularly warm strings and unapologetic brass–just the ticket in this kind of music–and Hyperion’s sonics have excellent brilliance and impact. Personally, I’d rank these works as (on the whole) superior to much by, say, Glazunov, Gliére, or Miaskovsky, and as these are the only two symphonies that Bortkiewicz wrote, having them together on one disc effortlessly fills a small but truly attractive repertoire niche. A genuine find.
