Forgotten Melodies, Alexander Malofeev’s debut for Sony Classical, features music by four composers who ultimately spent the rest of their lives away from their birthplace. His curation of works by Glinka, Glazunov, Medtner, and Rachmaninoff reflects an interesting idea of nostalgia — not necessarily for a homeland, but for what he describes in the booklet as a kind of lost dream world.
In Glinka’s The Lark (track 1), Malofeev’s refined tone is immediately evident: he offers a wide palette as the melody unfolds with ease, fluidity, and agility. More generally, what proves most refreshing throughout is the simplicity of his playing. That does not imply blandness, but rather innocence and directness in communication.
Medtner’s Forgotten Melodies cycle forms the core of the album. In Sonata reminiscenza (track 6), Malofeev again draws attention with the mellifluous quality of his sound; the seamlessness of his phrasing works especially well in music that ponders, undulates, and moves through richly colored harmonies. Danza festiva (track 8) brings a change of character: beneath the graceful, pristine playing lie real gaiety and anticipation. Another dance, Danza rustica (track 10), is a quirky one. Malofeev adds a nonchalant, almost bluesy swing to the main theme and an improvisatory tinge to the faster passages near the conclusion.
Rachmaninoff receives the most space on the disc, beginning with the famous Prélude in C-sharp minor, Op. 3 No. 2 (track 15). Among the many recordings of this piece, from Vladimir Ashkenazy to Byron Janis to the composer himself, Malofeev’s stands out from the start: he avoids the conventional forte on the first three notes. In its place comes a much softer, more enigmatic opening, at once introverted and suspenseful, which sets up an effective contrast with the fury that returns near the end. Lilacs (track 20) is beautifully done, evoking a dreamlike atmosphere through pastel tonal shading. The delicate, almost Impressionistic sonority suggests something fleeting that needs to be savored.
The three Études-tableaux (tracks 22–24) are well chosen for contrast: the first two highlight the pianist’s ear for expressive nuance, while the third is more overtly dramatic. The stark alternation of sound and silence at the opening is arresting, and the growth in intensity that follows is exciting without sounding overstated.
As elsewhere on the album, Malofeev chooses artistry over showmanship in Rachmaninoff’s Piano Sonata No. 2, Op. 36 (tracks 17–19), taking his time in the slower stretches to search for nuance. In the Allegro agitato (track 17), this yields an especially tender second theme, whose contemplative character makes the capricious runs and bell-like climaxes all the more convincing.
The Lento (track 18) can easily turn maudlin in the wrong hands. Malofeev avoids that trap by shaping lines sensibly and without excessive rubato, while paying close attention to inner voices that not all recordings bring out. The Allegro molto delivers the expected virtuosity, with plenty of brilliance and excitement for the finale.
The Glazunov group is delightful in its translucence and sparkle. La Nuit (track 25) recalls, at moments, the watery atmosphere of Ravel, while Song of the Volga Boatmen (track 26) is unforced and fully catches the music’s somber, austere character.
The microphone placement is close enough to capture minute details such as damper movement and even the pianist’s breathing. Some listeners may find this occasionally distracting, though it also adds to the sense of immediacy. The instrument itself has an impressively weighty bass register, which proves especially useful in the Rachmaninoff. A thoughtful program and consistently artistic playing make this a strong debut.
Album Details | |
|---|---|
| Album name | Forgotten Melodies |
| Label | Sony Classical |
| Catalogue No. | 19802936922 |
| Artists | Alexander Malofeev, piano |
