Brian Woods: Prokofiev: Miniatures
Navona Records

In contrast to the broad temporal expansion and grandiosity of expression the movements of a conventional piano concerto afford, the miniature challenges the pianist to imbue material of maximum compression with equivalent depth. The sophomore album from Brian Woods proves that such a goal is attainable when a pianist of exceptional acuity—as the St. Louis native most assuredly is—is involved. Interestingly, his all-Prokofiev programme not only includes the twenty miniatures that compose Visions Fugitives but other works of similarly concentrated design, the four-part Tales of an Old Grandmother and five-part Sarcasms; rounding out the release is “Reminiscences” from the composer's Four Pieces (1908). It's a very different album from 2024's Wanderings, which features material by Chopin and works by women composers, but is no less satisfying.

Woods, who earned degrees at Vanderbilt University, University of Missouri - Kansas City, Shenandoah University, and the Royal Conservatory's Glenn Gould School, performs solo recitals, appears with symphony orchestras and in partnership with violinist Daniel Dastoor as the Dastoor-Woods Duo, and has collaborated with tenor Vinson Cole and cellist Julian Schwarz. The pianist is also Music Director for Classical Programming and Artist in Residence at the World Chess Hall of Fame in Missouri. Recorded in January 2026 at the Arianna String Quartet Recital Hall in St. Louis, Prokofiev: Miniatures allows for multiple sides of the composer to emerge, from sardonic wit and pensive delicacy to melodic lyricism and much else besides. In featuring thirty succinct tracks, which aren't throwaways but instead models of imagination, concision, and craft, the album presents a portrait that couldn't be more multi-faceted.

The release begins, naturally, with Visions Fugitives (1915–17), which achieves a strong cumulative power despite the fact that only one of its twenty pieces exceeds two minutes. After a gentle poetic statement (“Lentamente”) sets a lovely scene, a ruminative and slightly cryptic “Andante” and free-spirited “Allegretto” explore different avenues. Whereas the longest of the set, “Pittoresco,” is both brooding and, abundant in pretty sprinkles, ornate, “Commodo” and “Allegro tranquillo" exude regal poise and child-like curiosity, respectively. Prokofiev's fingerprints are all over the march-like “Ridicolosamente” and “Feroce”; boisterous is “Inquieto,” “Dolente,” “Poetico,” and “Con una dolce lentezza” contemplative. The short form elicits from the composer a boldly adventurous approach, such that each vignette articulates a distinct if fleeting impression that's delivered by Woods with passion, finesse, and musicianship.

As anticipated, a pronounced nostalgic character informs Tales of an Old Grandmother (1918), its four folk-inflected parts clearly reflecting the composer's stylistic persona. Shadowy foreboding offsets carefree innocence in the “Moderato,” and a similar ambiguity haunts an “Andantino” that's both tender and tremulous. Speaking of haunting, consider the intensely probing “Andante assai” and introspective “Sostenuto.” Distinct from the relative reserve of Tales of an Old Grandmother is Sarcasms (1912–14), which barrels into position with a rollicking “Tempestoso” and mischievous “Allegro rubato” before moving onto the rhythmically charged “Allegro precipitato” and jagged “Smanioso.” Concluding the set effectively is “Reminiscences,” which Prokofiev wrote while a student at the St. Petersburg Conservatory. Even at this early juncture, he showed he could express something substantial within the span of two minutes. Woods, as he does throughout the recording, paces himself thoughtfully and calibrates his touch to the character of the material, in this case a wistful, romantic, and dramatic expression.

September 2026