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h pe :h, /n fe t truth of the matter lies in the purely musical: the Composer was short of Inspiration at the time - his only other Output was some unremarkable piano music, little-known today - so the prospect of writing a new large-scale work, and the first significant Russian contribution to the genre, may well have held irresistible appeal. The opening seems unremarkable, but it gives a good indication of what is to come: the strings lead the way, with the wind Instruments either interjecting as a group or adding little solo flourishes above them, while the brass and timpani (reserved primarily for forte passages) often add a rhythmic impetus wholly their own. Following the introduction, the soloist presents the vast majority of new material before weaving arabesques around it - and while they are undeniably virtuosic, it is only in passages when the orchestra falls silent that any case could be made for the instrument’s melodic qualities being abused, but it would be a stretch even then. By way of contrast, the slow movement opens with the woodwind alone, in what could be considered a Russian take on a Mozart wind Serenade. Quietly moving, it sets the scene for variations on a simple tune which, by means of another virtuoso display, lead Straight into a lively finale with all the hallmarks of Tchaikovsky’s ballet music. The tempo does slow down occasionally, but the prevailing mood is too upbeat for any lasting impact to be feit: this is life-affirming music and a work of which its composer, for all the critics’ opinions, was justifiably proud. © 2018 Anthony Mudge Anthony Mudge is a composer and writeron music. e