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Alexandre Scriabin: Piano music

 A l b u m   D e t a i l s


Label: Piano Classics
Released: 2017
Time:
 58:32
Category: Classics
Producer(s): Pieter van Winkel
Rating:
Media type: CD
Web address:
Appears with:
Purchase date: 2018
Price in €: 1,00





 S o n g s ,   T r a c k s


[1] Mazurka in B minor Op.3 No.1 - 3:40
[2] Etude in B Op.8 No.4 - 1:23
[3] Etude in D flat Op.8 No.10 - 1:55
[4] Prelude in G sharp minor Op.22 No.1 - 1:41
[5] Mazurka in C Op.25 No.2 - 3:08
[6] Mazurka in F sharp minor Op.25 No.7 - 4:23
[7] Fantasy in B minor Op.28 - 8:39
[8] Prelude in B flat minor Op.37 No.1 - 1:56
[9] Prelude in E flat Op.45 No.3 - 1:15
[10] Enigme Op.52 No.2 - 0:59
[11] Caresse dansée Op.57 No.2 - 1:27
[12] Sonata No.7 Op.64 “White Mass” - 10:46
[13] Sonata No.10 Op.70 - 11:52
[14] Poème Op.71 No.1 - 1:33
[15] Guirlandes Op.73 No.1 - 3:22

 A r t i s t s ,   P e r s o n n e l


Misha Dacić piano

Pieter van Winkel - Producer
Peter Arts - Mastering
Charles Rademaker - Steinway D tuning
Hayrettin Kırdı - Photography
Haluk Seçilmiş - Photographer’s assistant

 C o m m e n t s ,   N o t e s


Recorded on 4-5 September 2015, Westvest Church, Schiedam, The Netherlands


Scriabin isn’t the sort of composer whom you’d regard as your daily bread, but is a heavy liqueur on which you can get drunk periodically, a poetical drug, a crystal that’s easily broken.

SVIATOSLAV RICHTER

Richter may have mixed his metaphors a bit but he was not out of step to have done so. Attempts to describe the affect of Scriabin’s music fractured the thoughts and verbalizations of many and created conundrums – necessarily. As early as the words of his teacher Nikolai Zverev – “He knows how to make the piano sound not like a piano.” – Alexander Scriabin inspired imaginative descriptions as a pianist and as a composer. When young and having entertained the idea of himself as “flying” and of his works as “endless soaring,” he may have been responsible for putting the idea in Zverev’s head that his playing consisted of “ethereal flights.” A friend observed that Scriabin’s playing “soared like an eagle.”

Certainly, Scriabin moved assertively from Chopinesque romanticism in his early works – mazurkas, etudes, preludes, nocturnes, and impromptus – into aerial levels of musical atmosphere almost without touching the ground. His talons seized upon the quixotic harmonic innovations of Chopin and Schumann and upon their sometimes enigmatic, intoxicating manner of letting content carry them beyond the strictures of form. Peter Jurgenson faithfully published his opuses 1, 2, 3, 5, and 7 before relinquishing the composer to Mitrofan Balaieff, who not only published Scriabin’s next works but managed his burgeoning career – Belaieff’s name a seal of approval and quality throughout Europe.

Europe, Switzerland particularly, drew Scriabin away from Russia for years vocabulary. Within little more than a year, a new Prelude in E-flat Major (Op.45 No.3, 1904-5) stretched some of tonality’s strictures even more as he created vapors of sound. The elfin, quizzical Enigme (Op.52 No.2, 1906) carried further these tonal ambiguities as did the gently erotic, beguiling Caresse Dansée (Op.57 No.2, 1907) with its look-back cadence onto C Major at the end. Thought and feeling were condensed here into small morsels of delight.

Sonata No.7 (Op.64, 1911) was called by Scriabin “White Mass” – as he sought to cleanse himself of the “corruption of demonic forces” in his previous, frightening, “satanic” Sonata. Of the ten sonatas he wrote, this was his most favored because “this music approximates the Mysterium,” the work with which he anticipated climaxing existence through a merger of every human sense. “How it lifts and soars in heaven itself,” he said. About the single-movement structure’s ending, he wrote, “Regard it as an expression of the white light at the end of the universe.”

Sonata No.10 (Op.70, 1913), also in one movement, manifests a light-flooded vision of unprecedented imagination, the composer having said that, during the piece, “The sun comes down and blisters the earth.” Nature’s nervous tremblings, ripplings, chirpings, rustlings have been evoked in listeners’ minds. The Sonata’s palpitating vibrations are meant as “the suffocation one feels at the moment of ecstasy.”

This program concludes with two tiny pieces from the final creative bursts of Scriabin’s curious life journey and its radical transformations: Poème (Op.71 No.1, 1914) and Guirlandes (Op.73 No.1). Metaphors mix readily in hearers’ minds – the haloing loveliness of incandescent ashes, crystalline reflections of tinted lights of hue beyond delicacy – tonal and melodic ambiguity made manically hyperreal by the strange genius who, seeking unattainable, personal Utopianism on behalf of mankind, declared: “I am come to tell you the secret of life. I am God! I am the boundary. I am the peak.”

© Frank Cooper, our annotator, is Research Professor Emeritus of Musicology, University of Miami, Coral Gables, Florida.



MISHA DACIĆ PIANIST

Born in ex-Yugoslavia into a family with musical tradition, and having taken first lessons from his father, Misha Dacić has been performing in public since the age of ten. After his American debut at the Discovery Series of the Miami International Piano Festival in 2003, Dacić quickly became a sought-after soloist who captured audiences throughout the United States performing in venues such as Ravinia’s Rising Stars Series and Gilmore Keyboard Festival, among numerous others.

Dacić appeared in solo recitals as well as a guest soloist throughout Central and South America, Europe, Middle East and Japan. ‘Misha Dacić in Recital’, featuring several live performances, was released by VAI in 2009. Celebrating Franz Liszt’s 200th Anniversary in 2011, an all Liszt album released by Piano Classics has been greatly acclaimed by the critics worldwide. In 2009 he joined the legendary violinist Ida Haendel performing with her all over the world.

Misha Dacić holds his present posts as piano professor at Mersin State Conservatory in Turkey, and at the University of Arts in Niš, Serbia.

Dedicated to Alan Fraser

℗ & © 2017 Piano Classics
 

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