One of the most independent chamber music ensembles on the international scene celebrates its twenty-second anniversary by releasing an album entitled "Black Mass" on the GENUIN label. It is a dark ride through highly emotional music of the 20th century and takes its name from Alexander Scriabin's piano sonata "Messe noire," whose quartet version is presented here for the first time on disc. Also recorded for the first time is the 1st String Quartet by Christoph Staude, one of the first pieces in the ensemble's repertoire. In addition, quartets by Arthur Vincent Lourié and Ivan Wyschnegradsky are featured. All in all, a living history of the quartet and an artistic statement at the highest instrumental caliber!

REVIEW

Schwarze Messe translates as Black Mass, the nickname given to Scriabin’s ninth piano sonata, a version of which appears here. There is no obvious connection with the other works, but they make an enterprising programme, in which three of the four works have links, albeit somewhat loose ones, with Russian Futurism. The Asasello-Quartett specializes in recent and contemporary music and they have also recorded a well-regarded set of the Schoenberg string quartets.

We begin with Arthur Lourié. He was a Russian composer who was involved with the Russian avant-garde in the years before the first World War. After the Revolution he first worked for the Soviet government but then left and moved to Paris where for a number of years he was close to Stravinsky, who entrusted him with the piano arrangements of several of his works. They later fell out. When the Germans seized Paris he moved to the USA, where he remained for the rest of his life. In his early years Lourié was influenced by late Scriabin, but in his later years he became a neoclassicist, like Stravinsky. What I had previously heard of his music was pleasant enough, but minor and derivative. This quartet, however, is a different matter. It is in a late romantic idiom which is moving towards expressionism – in fact, it reminded me of Berg’s early quartet. It is in two quite long movements which are full of interesting and varied material, with perhaps more of a rhythmic drive than the Berg. I was impressed by this work and started wondering about Lourié’s two later quartets.

Christoph Staude stands rather apart from the other composers here, being much more recent and German. He has been around a good long time but has been little recorded, and hearing his quartet, I am not surprised. It dates from 1986 and is full of gestures which were fashionable at the time, such as glissandi, sudden explosive outbursts, harsh sul ponticello writing, mysterious mutterings and even a Bartók pizzicato. The five short movements pass slowly.

Next we have a transcription for string quartet of Scriabin’s ninth piano sonata, the work after which this disc is named. This is one of the most powerful and convincing of Scriabin’s later works. He takes three themes, all basically quite simple: a descending chromatic scale, a repeated rhythm with a falling semitone and a rising passage, and out of them gradually weaves an extraordinarily sinister and menacing work, culminating in a chromatic cascade which in the right hands can make the flesh creep. The problem is that the work is very idiomatically written for the piano, for example exploiting the ictus of repeated notes and the waves of sound created by the sustaining pedal. The transcription is quite nicely done, but I would rather have heard a work written for the string quartet.

Finally we have the first string quartet of Ivan Wyschnegradsky. He was another Russian who went into exile in Paris. His speciality was writing in microtones, that is subdivisions of the octave finer than the semitones of our normal tonal system. He wrote mainly in quartertones, but also in third, sixth and even twelfth tones. Many composers have been intrigued by the idea of microtones, and you can hear the occasional use of them as decorative elements in works by Enescu, Bartók and Szymanowski. Wyschnegradsky was much more thorough-going in his devotion, in particular, to quartertones, and he even wrote a short textbook, Manual of Quartertone Harmony. His second quartet here is in three short movements which show a Bartókian energy and drive with a vigorous opening and some attractive lyrical writing. The quartertones don’t make an entrance until a cello theme part way into the first movement and thereafter you can hear them, particularly in a passage of dense and very peculiar-sounding harmony. However, the work is an attractive one, and I found myself entertaining the heretical thought that it could have been revised into normal writing without losing anything important. Wyschnegradsky seems to me to have been a potentially valuable composer who wasted his life going up a blind alley.

The performances here are compelling and the recording good. The Lourié quartet seems to me a genuinely valuable work and the Wyschnegradsy an interesting curiosity. The Staude is a dud and the Scriabin transcription a wasted opportunity. These seem to be the only currently available versions of all the works here. There are, of course, many recordings of the Scriabin sonata in its original piano version, and there was once a recording of all three of Lourié’s string quartets by the Utrecht quartet on the now-defunct ASV label. So a mixed bag and a disc for the adventurous.

Stephen Barber

Giorgi Gigashvili is only twenty-two, but he is already hitting the headlines: now a pupil of Nelson Goerner, he is a protégé of Martha Argerich, who gave him the urge to play the piano alongside his first love, pop singing: at the age of thirteen, he was a contestant in The Voice in his homeland, Georgia, and won the prize! A few years later, Argerich discovered him at a piano competition, and he went on to win prizes at several more, including the Hortense Anda-Bührle Prize at the Géza Anda Competition in Zurich in 2021. Another high-flying mentor, the violinist Lisa Batiashvili, asked him to play him the piano on her recording of the Franck Violin Sonata. His free and spectacular playing impresses, his creativity and personality astonish. Here he presents his first recital, revealing his palette of colours: Scarlatti, Beethoven, Scriabin and Messiaen. But never far away is his shadow, the singer of the electro band Tsduneba (‘temptation’ in Georgian) which he founded with his friends.

Gennady Rozhdestvensky (1931–2018) was one of Russia’s greatest conductors along with Yevgeny Mravinsky; Kirill Kondrashin and Yevgeny Svetlanov. Like them; he was a supreme interpreter of his country’s leading composers –notably Prokofiev; Shostakovich; and Tchaikovsky – but he was also more versatile and always in search of new challenges far beyond Russian and Soviet repertoire; from Benjamin Britten to Carl Nielsen and much more.

One of the boldest and most radical composers of all time, Alexander Scriabin had a lifelong obsession with occult and mystical ideas. Initially under the influence of Chopin, Wagner, and Liszt, his music later became more complex, taking on an expressive power which provoked extreme reactions from audiences – of adulation as well as repulsion. Not shying away from hyperbole, Scriabin once declared: ‘I am the apotheosis of creation – I am the aim of all aims – I am the end of all ends.’

The three works featured on this release belong to Scriabin’s final compositional period where the music seems to veer between voluptuous languor and striving energy. Composed back-to-back, the Poem of Ecstasy and the Fifth Piano Sonata are drenched in bitter-sweet harmonies and carefully constructed dissonances. The scores of both works make reference to the same poem – by Scriabin himself – which ends with the lines ‘thus the universe resounds with the joyful cry: I AM!’. In his last symphonic poem, Prometheus — The Poem of Fire, Scriabin aims even higher. Here he expresses the evolution of the world from formless chaos, through the appearance of mankind, fertilized by the divine spark, towards spiritual liberation and ultimate transcendence. The unusually large orchestra and a wordless choir produces a kaleidoscope of contrasts, colors and sounds caught up in an ecstatic whirl.

REVIEWS:

In Scriabin’s work, the Prometheus myth is focused less on the creative element of Prometheus and more on the theft of fire, which allows the composer to create ‘light-filled’ images. Lan Shui creates a very great tension from the very first bars, giving expression to the fantasy nature of the composition. We thus hear music with those detaching particles of sound that, like the flock of birds in flight, create effects from ever-changing forms. Shui thus proves to be an imaginative conductor who spurs his orchestra and choir on to an outstanding performance. Evgeny Sudbin blends perfectly into this feverish sound...A great performance!

-- Pizzicato

Lan Shui and his Singapore Symphony Orchestra...inflame the subject; they delight in lascivious sensualities, the better to suddenly cause volcanoes to burst. All this is of a dizzying control and a sonic refinement...

The pianist is none other than Yevgeny Sudbin...He touches on genius in Prometheus, but you also have to hear him burn his keyboard, all hammers and iron, for a 5th Sonata that sounds as if it had just come out of the forge. A great album - totally unexpected, and recorded with striking fidelity.

-- Artamag'

Severin von Eckardstein: The idea is a journey from the earthly to the light, it is about the question of how life and death are connected. Now you can say that it is generally a function of music that it catapults you into a new level of consciousness. But I think the four works on this CD do that in a special way, they radiate a tremendous power. They reflect different personal worlds, were written at different times and spring from different genres and sound ideas, yet they all have a similar function.

Hailed by the music press as one of the most gifted pianists of her generation and recipient of many international awards, established German-Italian pianist and ECHO winner Sophie Pacini invites us on a very personal journey across the pianistic cosmos. In her own words: “On this album, I have combined pieces which have accompanied and reassured me in seemingly small, but ultimately crucial moments of my life.”

Since her concert debut at the age of eight and her training in the highly gifted institute of the Mozarteum Salzburg, Sophie Pacini has played in many important concert halls worldwide, including the Philharmonie Berlin, Philharmonie and Prinzregententheater Munich, Suntory & Orchard Hall Tokyo, KKL Luzern, and Kurhaus Wiesbaden. Sophie's special focus is on communicating classical music to the next generation, in the context of her own concert activities and in numerous publications.