Alexander Scriabin - Piano Sonata No. 3, Op. 23 (1898) {Roberto Szidon}
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- Опубліковано 28 чер 2024
- Alexander Nikolayevich Scriabin; Russian: Александр Николаевич Скрябин 6 January 1872 [O.S. 25 December 1871] - 27 April [O.S. 14 April] 1915) was a Russian composer and pianist. In his early years he was greatly influenced by the music of Frédéric Chopin, and wrote works in a relatively tonal, late Romantic idiom. Later, and independently of his highly influential contemporary, Arnold Schoenberg, Scriabin developed a substantially atonal and much more dissonant musical language, which accorded with his personal brand of mysticism. Scriabin was influenced by synesthesia, and associated colors with the various harmonic tones of his atonal scale, while his color-coded circle of fifths was also influenced by theosophy. He is considered by some to be the main Russian Symbolist composer.
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Piano Sonata No. 3 in F-sharp minor, Op. 23 (1897-1898)
I. Drammatico (0:00)
II. Allegretto (7:31)
III. Andante (9:44)
IV. Presto con fuoco (14:38)
Roberto Szidon, piano
Scriabin had been married to a young pianist, Vera Ivanovna Isaakovich, in August 1897. Having given the first performance of his Piano Concerto at Odessa, Scriabin and his wife went to Paris, where he started to work on the new sonata. Scriabin is said to have called the finished work "Gothic", evoking the impression of a ruined castle. Some years later however, he devised a different programme for this sonata entitled "States of the Soul":
*[First movement, Drammàtico:] The soul, free and wild, thrown into the whirlpool of suffering and strife.
[Second movement, Allegretto:] Apparent momentary and illusory respite; tired from suffering the soul wants to forget, wants to sing and flourish, in spite of everything. But the light rhythm, the fragrant harmonies are just a cover through which gleams the restless and languishing soul.
[Third movement, Andante:] A sea of feelings, tender and sorrowful: love, sorrow, vague desires, inexplicable thoughts, illusions of a delicate dream.
[Finale, Presto con fuoco:] From the depth of being rises the fearsome voice of creative man whose victorious song resounds triumphantly. But too weak yet to reach the acme he plunges, temporarily defeated, into the abyss of non-being.
Roberto Szidon, such a great and underrated pianist. Thanks for the just homage. 🇧🇷
Another of my favorite composers. I love his etudes and symphonies. This has a beautiful melody line. I wonder if words were ever written for it.
Kräftige doch wunderschöne Interpretation dieser spätromantischen und einzigartig komponierten Klaviersonate im veränderlichen Tempo mit klar artikuliertem doch warmherzigem Anschlag und mit dramatischer Dynamik. Der dritte Satz klingt besonders schön und echt mysteriös. Im Kontrast klingt der letzte Satz echt lebhaft und auch überzeugend. Wahrlich intelligenter und genialer Pianist!
I've got these on LP. Despite the scratches, they're still my favorite performance of them.
19:49 the triumphant appearance of the theme from the third movement is so epic
The ending is a little sudden, but I liked it.
Scriabin's melodies are more universal than his as-famous compatriot composers. He is ahead of his time in ideas and just in time in tonality. The art of piano sonata takes an interesting twist with him...
Szidon sounds a bit lost at times
Please give me a time stamp so I know what you are talking about. I am curious.
@@bartjebartmans Mainly talking about the first movement. The phrasing (direction, dynamic fluctuations) just seems a bit... off to me at times. Like he's not quite sure what direction to take them, in the context of the harmonies
I kind of understand what you mean, but I have the strong feeling Szidon uses a kind of rubato that can come off a bit forced at times, contrary to what the listener expects. But that might be exactly what he was aiming for....... There is also the possiblity, this being the non digital era, that he simply didn't have enough recording time and had to pull it off in a few takes. Unlike for instance Gavrilov and Ashkenazy who took about 70 takes to pull off a super clean Rite of Spring for piano 4 hands. Szidon didn't have that luxury. Plus the mike situation wasn't conducive for the wide range of dynamics he uses. His ppp is really ppp his fff are really fff. and all the shades in-between. The latter bothers me a bit as I can tell he plays those soft tones but you barely can hear them, or sometimes not at all. It doesn't do him justice the great artist he was.
@@bartjebartmans I can agree the recording doesn't do him justice. Regarding the rubato: that's not necessarily my problem, it's more about the dynamic and directional choices in the context of the harmonies presented. To me personally, the harmonies pull in a certain direction, invite a certain storytelling, and Szidon seems to decide to tell a different story. I guess the harmonies were pulling him in a different direction than the one that seems the most logical/musical to me (:
To give a clear example, the very opening theme, recurring throughout, he consistently ends the 3rd beat a lot softer than the 1 & 2. While I appreciate the gesture of ending the sub-phrases in a musical manner, the intensity of it, to me, feels a bit short breath-ed, as if these figures are 1-bar "main" phrases, which takes away from longer phrasing imho