Is it really 30 years since Vladimir Ashkenazy www.vladimirashkenazy.com last
recorded a Scriabin album? Decca tells us that it is.
All the more reason
to be grateful to Decca www.deccaclassics.com
for
their release of a new album from Ashkenazy entitled Scriabin: Vers La Flamme marking the centenary of the composer’s
death.
This new recording
takes us from Scriabin’s earlier romantic works chronologically through to his
mystic modernist works, a terrific journey that also provides a very satisfying
recital.
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| 478 8155 |
Vladimir Ashkenazy has been a lifelong champion of Alexander Scriabin (1872-2015) www.scriabinsociety.com . In his
Introduction to Faubion Bowers’ 1973 book, The
New Scriabin, Ashkenazy writes ‘I consider Scriabin one of the greatest
composers. Of course, it is not easy to support such a statement about anyone.
But it is my opinion. He had a unique idiom which is full of meaning, at least
to me, and I, for one, am convinced of Scriabin’s greatness.’
The early Etude in C#
minor, Op.2 No.1 is beautifully
shaped by Ashkenazy and makes the perfect opening before three of the Mazurkas, Op.3 (1889). This pianist brings
such energy and flair to the odd little Mazurka
No.6 in C# minor (Scherzando) following all of Scriabin’s mood changes and,
indeed, changes of tempi and dynamics. No.7
in E minor (Con passione) brings some lovely subtle inflections that add so
much. No.10 in E flat minor (Sotto voce)
has a beautifully dreamy opening before we are led through some moments of
great passion, always with a fine subtle rhythmic undertow whilst revealing
some lovely introspective moments.
Ashkenazy follows up
with five of Scriabin’s Etudes for
Piano, Op.8. No. 5 in E major
(Brioso) has a lovely breadth, Ashkenazy always finding a great strength, a
lovely touch, subtly sprung. No. 7 in B
flat minor (Presto tenebroso, agitato) is also wonderfully sprung before Etude No. 10 in D flat major (Allegro) that
is full of rhythmic drive, given a terrifically concentrated performance. No. 11 in B flat minor (Andante) unfolds
beautifully and naturally with a perfect poise, Ashkenazy shaping every note
beautifully. Ashkenazy shows how he can really whip up a storm in the Etude No. 12 in D sharp minor (Patetico) full of assurance and power.
This is great Scriabin from Ashkenazy setting concentration
and power against moments of supreme personal reflection.
With the 4 Preludes,
Op.22 No. 1 in G sharp minor
(Andante) unfolds beautifully with a lovely poise. After a wistful Prelude No. 2 in C sharp minor (Andante),
No. 3 in B major (Allegretto) has an
exquisite delicacy. No. 4 in B minor
(Andantino) is gloriously done.
8 Etudes, Op.42 follow
with No. 1 in D flat major (Presto) revealing a feeling of impetuosity, brilliantly
executed here. Ashkenazy
reveals the subtle complex rhythms of No. 2 in F sharp minor (♩=
112) before
providing some terrific quicksilver playing in No. 3 in F sharp minor (Prestissimo) where some amazing little
details are revealed. With Prelude No. 4 in F sharp major (Andante) this
pianist reveals so many nuances within its lovely flow.
Scriabin’s complex textures in his Prelude No. 5 in C sharp minor
(Affannato) are finely done with Ashkenazy showing his feel for overall
structure. Absolutely superb. After the lovely subtle rubato of No. 6 in D flat major (Esaltato) Prelude No. 7 in F minor (Agitato) brings a certain restraint, subtle, but
enough to add a tension. No. 8 in E flat
major (Allegro) has a lovely ripping forward drive with a beautifully
conceived, thoughtful central section.
Next in this exceptionally fine recital comes Scriabin’sTrois Morceaux, Op.45. No.1
"Feuillet d'Album" in E flat major (Andante piacevole) has a
lovely breadth and freedom. With No.2
"Pòeme Fantasque" in C major (Presto) Ashkenazy has the feel of
Scriabin’s distinctive rhythms and textures in this tiny piece before a really
lovely little No.3 Prélude in E flat
major (Andante).
Ashkenazy reveals Scriabin’s Quasi Waltz, Op.47 to be a fantastical, really individual waltz.
With Trois Morceaux, Op.52 we move
further into Scriabin’s later style especially with No.1 Poème (Lento – Più vivo – Tempo 1), Ashkenazy revealing many
subtle details and harmonies. He brings a lovely, limpid light touch to No. 2 Énigma (Étrange, capricieusement) before
the languorous No. 3 Poème languide (Pas
vite).
Ashkenazy shows 2 Pièces,
Op.57 to be real gems, the fleeting No.1
Désir containing so much feeling and a beautifully light and delicate No.2 Caresse dansée.
Ashkenazy allows the strangely beautiful Feuillet d'album,
Op.58 to unfold beautifully before 2
Poèmes, Op.63 with the fleeting No.1 Masque (Allegretto. Avec une douceur
cachée) wonderfully caught and No.2 Étrangeté
(Gracieux, délicat) where Ashkenazy brings his light, delicate touch.
More poèmes follow with
2 Poèmes, Op.69. No.1 Allegretto.
Tendre, délicat has a subtle ebb and flow with exquisite phrasing before a
fleeting, light footed No.2 Allegretto.
Aigu, capricieux.
With 2 Poèmes, Op.71 Scriabin
brings a greater focus to No.1
Fantastique, his strange harmonies perfectly caught here. No.2 En rêvant, avec une grande douceur is
beautifully built as it subtly increases in strength and power, almost as
though a mini sonata, such is its power in this performance.
The apt title piece for this disc is Vers la flamme, Op.72 (Toward the Flame) in which Ashkenazy slowly
builds this initially brooding piece gradually allowing light to enter. An
absolutely terrific performance.
The final works by Alexander Scriabin on this disc are the 5 Preludes, Op.74 tiny gems, opening with a very fine No.1 Douloureu,
déchirant, beautifully formed. There is an exquisite Prelude No.2 Très lent, contemplatif
before a perfectly formed little No.3
Allegro drammatico. Ashkenazy finds his way through the meandering Prelude
No.4 Lent, vague,
indécis wonderfully in this quite lovely performance before concluding with
a tumultuous Prelude No.5 Fier, belliqueux.
An unusual addition to this disc is the inclusion of Yulian Alexandrovich Scriabin’s (1908-1919)
Preludes, Op.3 - No.1, written when his son was just 10 years of age. It brings
many of the characteristics of his father’s late style, his intervals,
sonorities and harmonies, though with a coda that suggests an independent
spirit.
Ashkenazy has a natural empathy for Scriabin, bringing many
subtleties. He has the ability to capture the fleeting beauties of Scriabin’s
later works to perfection. This is a beautifully structured recital finely
recorded at Potton Hall, Suffolk, England. There are informative booklet notes.
Whatever new recordings are released this centenary year
Ashkenazy’s contribution is very fine indeed.
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