Immerse yourself in the enigmatic beauty of Alexander Scriabin's complete piano sonatas, masterfully interpreted by the renowned pianist Yunjie Chen. This new album offers a profound journey through the introspective and mysterious soundscapes that have captivated audiences for over a century. Scriabin's sonatas, often described as "mysterious and lovely," provide an unparalleled canvas for personal and intimate expression. Yunjie Chen’s nuanced performance brings these unique pieces to life, allowing listeners to explore the deep emotional currents and the profound philosophical questions inherent in the music. Yunjie Chen’s deep connection with Scriabin's works is evident in every note, and his ability to convey the complex textures and ethereal beauty of the sonatas is extraordinary. Each performance is an invitation to a world where music transcends the ordinary, embodying Scriabin’s mystical and theosophical visions. This album is not just a collection of sonatas; it is a transformative experience. Yunjie Chen's thoughtful interpretations highlight the technical brilliance and emotional depth of Scriabin’s compositions, offering a fresh perspective on these rarely performed masterpieces.

REVIEW:

These are technically impressive interpretations of cool austerity, with a phenomenal command of dynamics and color values. In the Sonata No. 10, Chen realizes the Très doux et pur in a fascinating and exciting way that outdoes a number of interpretations by some very important pianists. This production is definitely one of the most important complete recordings of the Scriabin sonatas.

— Pizzicato

Can a composer like Alexander Scriabin be associated with any tradition at all, given the uniqueness of his musical language? Initially focusing on piano compositions, Scriabin later expanded to larger orchestral works, crafting five symphonies between 1899 and 1910. A noticeable evolution in composition unfolds, transitioning from a late Romantic style to a more modernistic approach. Evolving from late Romanticism to modernism, Scriabin drew inspiration from symbolist poetry and philosophical figures. Envisioning himself as a musical messiah to change the world, his Second Symphony provides a glimpse of this eccentric vision.

A new precious chapter has been added to Mariangela Vacatello's project of complete recording of Alexander Scriabin’s piano sonatas. A record series, to which the second volume is now added, that becomes a virtuosic journey into the world of sonatas where, as Guido Salvetti illustrates in the accompanying notes: "They thus reflect the composer's entire artistic itinerary: from the fiery romantic gestures of Liszt to the dissolution of rationality in the more symbolic esotericism." The sonatas date from 1891, in the last months of study at the Moscow Conservatory, and 1913.
In this new publication, Mariangela Vacatello delves with a personal touch into the creative plots of the sonatas n. 2 – 5 – 6 – 7 – 8, revealing its expressive complexities and countless emotional cues. A new record release that reflects the intense and virtuosic exploratory research of the pianist, an opportunity to rediscover the creative and human universe of the Russian composer in its expressive and narrative density".

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.

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.

My name is Slava Poprugin. I am a pianist, a teacher, a sound engineer and the owner of the Steppenwolf studio. Let me tell you a few words about myself. I was born in Khabarovsk, Russia, in 1973. I started going to a music school from 6 years old. After my graduation from Khabarovsk Music College in 1992 I moved to Moscow to study at the Gnessin Music Academy, one of the top-rated music conservatoires in Russia. My teaching career started when I was still a student in Khabarovsk. From 1999 till 2015 I was a senior teacher at the Moscow State Conservatoire, and from 2018 I was appointed a professor at the Royal Conservatoire the Hague in the Netherlands. I am a concert pianist with a big repertoire. During the last decades my preferences have changed from a passionate dedication to contemporary music to a broader spectrum of styles and genres. It gives me enormous pleasure to play chamber music with many musicians, my friends and colleagues. I am very proud of my 15 year long collaboration with the great cellist Natalia Gutman. Sound engineering was my hobby from the early years, and when in 2006 I was invited to record an album for Live Classics label, it has officially become my other profession. Since then my activities in this field were continuously expanding, resulting in launching my own recording studio in the Netherlands in 2016.

The Complete Piano Sonatas, Vol.1 is the first volume of a new project that will see Mariangela Vacatello perform the entire cycle of Scriabin's piano sonatas.

Scriabin's Piano Sonatas (the ten to which the composer assigned an opus number) date from between 1891, during the last months of his studies at the Moscow Conservatory, and 1913, in his final phase dominated by the vast project of the "Symphonic Poem" Prometheus. They thus reflect the composer's entire artistic itinerary: from the fiery romantic gestures of Liszt to the dissolution of rationality in the more symbolic esotericism. And so it happens that the musical discourse, rather than being based on an orderly succession of different figures, is transformed into a sort of efflorescence of thematic recurrences between one movement and another (in the First, Third, and Fourth) and of self-quotations between the Fifth and the following Sonatas (becoming exacerbated in the Ninth and Tenth), with a network of cross references (of trills, fanfares, arpeggios, languid chromaticisms, etc.) that makes it possible to suggest the hypothesis of a single work (as such, monstrously intricate) that embraces the Sonatas from the Fourth to the Tenth as phases of a single spiritual experience, dominated by the mysteriosophic idiosyncrasies of the philosopher and mystic Vladimir Solovyov.

Praised for her poetic and dramatic interpretation, New York-based Korean pianist Yoojung Kim is a versatile pianist, improviser, arranger, musical curator, educator, chamber musician and collaborator. Ms. Kim has appeared in recital and as soloist with orchestras throughout Europe, the United States, and Asia. Yoojung Kim is currently a member of the Artist Faculty in Piano Studies at NYU Steinhardt.

REVIEWS:

A lovely release of fine performances of this often intense but deeply satisfying music which deserves to be so much better known. Much of the music is on the grand scale but there are also more intimate movements including the first of the Deux poems, Op 32. Alongside further Poemes and Morceaus are Sonatas 2, 3 & 4. The CD is bookended by the adventurous Fantaisie in B minor and Vers la flamme.

-- Lark Reviews

Pianist Yoojung Kim gets highest marks for poetry and interpretive insights, qualities that are particularly critical when the subject is Russian pianist, composer, and musical symbolist Alexander Scriabin (1872–1915). She understands Scriabin to a degree that I am pleased to find remarkable among current pianists, and her feeling for color and expressiveness brings out the very best in an often-illusive composer.

-- Audio Video Club of Atlanta (Phil Muse)

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.

Scriabin composed most of his single-movement fourth symphony The Poem of Ecstasy between 1905 and 1908 in Italy and France. He originally intended it to be called Poème orgiaque (‘Orgiastic Poem’) with its unprecedented raw sensuality and overpowering aesthetic, taking chromaticism beyond even Wagnerian voluptuousness. His earlier Symphony No. 2 in C minor adopts César Franck’s cyclical ideas to which Scriabin layered sweeping climaxes, majestic intensity and rich orchestral colour that enliven its five movements with ceaseless invention.

REVIEW:

The Poem of Ecstasy is an extremely effective piece. JoAnn Falletta’s sleek, graceful performance, at 19 minutes, is on the swift side of things, and well balanced for transparency and texture. The Buffalo Philharmonic paints in lovely light colors, and nothing drips. The electronic organ used by the orchestra supplies a fine weight for the conclusion of the piece. Falletta delivers the last apocalyptic chord after a slight pause, all the more effective given the fact that this has been a swift performance unencumbered by needless rubato. The Poem of Ecstasy emerges gleaming and appealing.

Falletta’s traversal of the Second Symphony is, if anything, even better, and almost relentless. This reading is ablaze with forward motion, bringing the piece home in 40 minutes. Scriabin has not provided many moments for the music to catch its breath, so it turns out that an effective counter to this is to speed one’s way through the score and gradually ratchet up the tension.

Falletta does not linger excessively over the slow movement. This is where conductors can get into trouble dwelling on atmosphere. In the propulsive last third of the symphony, Scriabin seems to tighten his compositional approach, as if aware of this pitfall, and the Buffalo Philharmonic is with him all the way, brass and percussion snarling through the whiplash winds of the Tempestuoso and ultimately hitting paydirt with the memorable march that brings the symphony to its powerful and optimistic conclusion. 

The Naxos engineers are to be congratulated throughout. The recorded sound is utterly natural and true to the hall. Falletta deserves kudos for daring to be brisk and for knowing how to build satisfying climaxes. This is the best version of the Second Symphony I have heard.

-- Fanfare (Steven Kruger)

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.

The Scriabin Mystery is brought to vivid life by acclaimed French pianist Vincent Larderet and celebrates the 150th anniversary of the birth of the Russian composer. Making his AVIE debut, Larderet presents a comprehensive survey of the scope of Scriabin’s output and the evolution of his style, from his early, post-Romantic works influenced by Chopin and Liszt, through to the modernism of the 20th century in his final works. His harmonies famously colored by his synesthesia, Scriabin’s craft was a revolutionary fusion of freedom of expression underpinned by a sense of unity and geometric proportion, his psychologically complex constructions infused with incandescence and mysticism. Scriabin’s music has long held pride of place in Larderet’s repertoire. He offers a brilliant and broad overview of the composer’s evolution in chronological sequence, revealing the mystery of one of the most visionary composers of the late 19th and early 20th centuries. Scriabin’s life was tragically cut short at the age of 43, leaving his final work, Acte préalable, unfinished. Long thought lost, the sketches were re-discovered by composer and musicologist Manfred Kelkel, who used the material for his composition Tombeau de Scriabine. Vincent includes the Prelude of this work as a touching encore to The Scriabin Mystery.

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'

Scriabin and Mozart: two composers rarely associated, yet the juxtaposition here seems clear when performed by Zlata Chochieva. In this first album, the Russian pianist, new to the naïve label, is ingenious in both the cycles of fragmented variations and the more opulent sonatas or preludes. This project is inspired by the 150th anniversary of Scriabin’s birth, but Zlata Chochieva has been a fan of the Russian composer since her childhood as he was the first to appeal to her emotions as a listener and performer. Associating him with the classical Mozart – rather than a romantic composer, as is usually the case – enables Zlata Chochieva to conjure up an unexpected kinship that benefits from her vibrant and graceful style, rising to thrilling virtuosity. “The perfection in the phrasing, the polyphony and the formal proportions, plus the concision and the lack of superfluous notes are just some of the points that link Scriabin to Mozart,” she explains.

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