The longest of Arensky's suites for two pianos is not the usual sequence of character and salon pieces, but a theme and nine eclectic variations that survey the previous century and a half of music history. The opening theme, stated by Piano I, is part chorale, part Romantic art song. In the first variation, Piano II takes over the theme, while the primo part is devoted to short, decorative answering phrases. The second variation is a typical Arensky waltz, charming and highly ornamented. Complete contrast comes with the next variation, a grand, bombastic march with a slightly Wagnerian undercurrent; here the theme seems closely related to Die Meistersinger. The fourth variation is marked "Eighteenth century Minuet," and forms a seamless pair with the fifth, Gavotte. Although Arensky does employ a gavotte rhythm and the Classical minuet-and-trio format (with a dainty musette in the middle), these pieces would seem right at home as part of a divertissement in a Romantic Russian or French ballet.

The sixth variation is a sparkling Scherzo, owing much to Felix Mendelssohn. The seventh is an ominous funeral march, complete with drum-like triplet figures. It calls Chopin's more famous funeral to mind only vaguely, but there's a much more explicit Chopin connection in the two final variations: a gentle Nocturne (with an unexpectedly passionate section following a false ending), and an energetic Polonaise, although Arensky can't sustain the strutting virility of Chopin's typical polonaise themes. A quiet restatement of the original theme is inserted just before the polonaise's exuberant coda.

© James Reel, All Music Guide