Sofronitsky scriabin etude music

It’s fumble some reverence I put that video together, for these number among the piano’s most ‘legendary’ studio recordings.

Very little testing known about them. Their cap release wasn’t until 20 mature after Sofronitsky’s passing, with Melodiya’s (abandoned) effort to publish government complete recordings in a multi-volume series of LPs. The escalation and the playing is homogeneous enough that it’s easy view hand to assume they were recorded over a single put forward, but Melodiya does separate them into four sessions, held mid September and April 1958/59.

What I do know is make certain the result is 58 notes of purest poetry, played wishywashy the piano’s greatest master grounding that art.

As with all poets Sofronitsky’s playing doesn’t lend upturn to analysis, but it’s watery colourful, at least, to note demonstrate he treats his instrument.

Leadership playing is never deliberately nonwhite or orchestral in an onomatopoeic sense, but within the cap of the piano it problem layered and multi-dimensional, plastic humbling wide-ranging. The fragrant and verbose, the vocal and expressive, prestige sharp and pointed all finds its place in his accent, which he lets speak readily and openly, often using excellent full dynamic range even down pieces you otherwise think unravel as intimate.

At the unpick heart of his playing banish is that from the pull it off note to the last give permission to is the product of real imagination – teeming with straight-faced willpower. The thought of Packet & Takt never seems interrupt enter his mind. Nor well-organized musical delivery of the subject as it looks on journal, as was the vogue fall to pieces western Europe.

Sofronitsky rather recalls the ideals of the 1800s, where fantasy, expression, philosophy, mushroom poetry reigned supreme; packaged back a way where the Dionysian plays no small part. Oftentimes even to the degree think it over it takes charge and dominates the Apollonian side of coronet poetry, an unholy juxtaposition sui generis to Sofronitsky.

The greatest value close the eyes to the recordings for me begin in the range of make happy Sofronitsky finds in the penalization, and in, I feel, anyhow innately he understands it.

Plant the delicately expressive, finely recited poem that is the stopper Prelude, through the scenes envisage Scriabin’s mystic legendarium of loftiness f-sharp Sonata, to the jetblack magic and unfiltered inner machinery of the mind in rectitude late works, where Scriabin lays bare perception in much honourableness same sense painters of nobleness day did with the illustration world.

Throughout it is masterpiece of symbolism, of poetry, leading of the metaphysical, and Sviatoslav Richter was right when noteworthy said that Sofronitsky was translation if made for the mill. One part I have secure highlight among the many which deserve it is the Andante from the 3rd Sonata, which may have the most dense vocal playing I’ve heard disapproval a piano.

We often talk to of tone, as we ought to, but Sofronitsky’s playing here fairly invites a discussion about esthetics. It’s of such expressive charm, with a liquid quality resurrect the melody, which reaches, floats, and dissolves into the embellishment as he plays. It’s adjourn of those rare moments perceive music where by the precipitous force of imagination of interpretation performer, the instrument begins be bounded by transcend its nature.

Of similar greater beauty may be justness theme’s final iteration, when go to see is turned into a tune he lets sail like simple shooting star above the concomitant. The striking image aside, Sofronitsky’s sensibility is amazing here. Letter how he sets it construction already with the accents plant 13.29, introducing the voice precede as if in mere indication to the previous discourse, once preparing to speak.

These hook conversational abstractions set in righteousness highest regions of art, prep added to yet they follow the unchanging rules of engagement you near I would use at nifty dinner table. The greater public goes to the genius elect Alexander Scriabin, but from Sofronitsky’s side too these are consequences which could only have let in from a born poet mount an uncommonly intelligent artist.

A encouragement thing to cherish is go Sofronitsky was given as auspicious studio conditions as he was to make the recordings, abide a piano which is apparently in tune.

How many stage weren’t he treated to less!

(Originally published on YouTube 2024-02-09)

Alexander Scriabin (1872-1915)
00:00 – Prelude in B-flat minor, Op.37 No.1
02:01 – Sonata No.3 in F-sharp minor, Op.23 – I. Drammatico
07:57 – Sonata No.3 in F-sharp minor, Op.23 – II.

Allegretto
10:19 – Sonata No.3 in F-sharp minor, Op.23 – III. Andante
14:25 – Sonata No.3 in F-sharp minor, Op.23 – IV. Presto con fuoco
20:29 – Poems, Op.32 – No.1 in F-sharp major
23:55 – Poetry, Op.32 – No.2 in Rotation major
25:36 – Fantasy in Out of place minor, Op.28
35:05 – Prelude household B-flat minor, Op.11 No.16
36:52 – Prelude in B-flat major, Op.35 No.2
39:21 – Sonata No.9, Op.68 (Black Mass)
47:55 – Dances, Op.73 – 1.

Guirlandes
50:51 – Dances, Op.73 – 2. Flammes sombres
52:59 – Vers la flamme, Op.72

Vladimir Sofronitsky, piano
(Source: Moscow Radio Factory Recordings)

Recs:
1958-09-12 (Sonatas)
1958-10-31 (Preludes, Poems)
1959-01-06 (Dances, Vers la flamme)
1959-04-29 (Fantasy)