A plentiful audience at Zankel Hall last week enjoyed Nadejda Vlaeva’s program of attractive salon pieces by two forgotten Russian éxiles, Vladimir Drozdoff (Saratov 1882 -New York 1960) and Sergei Bortkiewicz (Kharkiv 1877-Vienna 1952), and a colorful Hungarian Rhapsody by Franz Liszt (a rarely played one)—all introduced by one of Schubert’s most profound sonatas, the G Major, D. 894, sometimes known as the “Fantasie,” a name given it by its first publisher because of its meditative first movement. There could be no doubt that the curtain-raiser was the most significant work on the program, but the centerpiece was nonetheless the selection of shortish rarities by the two Russians. Their music has much in common. Both are rooted in the nineteenth century, with little or nothing traceable to the musical trends that emerged after 1910, or later. Although they were younger than Rachmaninoff, who was plagued by his own conservatism, their music is even more retardataire. This is not in itself a fault, although one can understand why their music failed to reach a wider audience in the age of Stravinsky, Prokofiev, and Shostakovich. Both Drozdoff and Bortkiewicz were undoubtedly fine craftsmen and showed a deep understanding of the piano in the great Russian tradition.