Alexander SCRIABIN (1872-1915)
24 Preludes, Op.11 [31.02]
6 Preludes, Op.13 [8.04]
5 Preludes, Op.15 [6.46]
5 Preludes, Op.16 [8.30]
7 Preludes, Op.17 [9.20]
Javier Negrín (piano)
rec. Teatro Leal, La Laguna, Spain, 13-15 February 2012
ODRADEK 855317 003059 [63.48]
This disc handily assembles the complete Scriabin ‘Travel Preludes’
written during the early years of the composer’s life between 1888 and
1896 but mainly in the latter two years. It was written during his tours of
Europe giving solo piano recitals. The scores indicate the places and dates
of composition at the end of each piece. As such they are almost entirely
free of the mysticism and sheer waywardness of the composer’s later
works, reflecting more the Chopinesque atmosphere of his early Piano Concerto
and the first two Piano Sonatas. Most of the individual pieces are
very short indeed; of the 47 tracks on this disc, thirteen are under a minute
in duration and only five last more than two minutes. As such they have hardly
time to establish themselves before they are over, leaving one with a slightly
unsatisfied feeling. There are occasional little harmonic quirks which identify
the composer who would write the later sonatas, but otherwise this is music
designed to charm an audience rather than send it into ecstasies.
This is however the only recording in the current catalogue to give us all
the ‘Travel Preludes’ other than as part of multi-disc surveys
either of the complete Preludes or compendiums of the complete Scriabin piano
music. As such it has a unique value, particularly for those who already have
recordings of the more characteristically Scriabinesque later works and may
not wish to duplicate these. Javier Negrín is a good guide to the music,
and plays with plenty of panache; he is recorded in a lively and resonant
acoustic, and the piano is kept at just the right distance.
By the time he came to write the Op.17 Preludes in late 1896 there
is increasing evidence of the individual Scriabin; the score indicates many
accelerandi and ritenuti showing with great exactitude the precise
amount of rubato which he wanted in performances, although oddly enough
he gives remarkably few indications for pedalling. Negrín carefully
follows the composer’s detailed instructions, and adds a number of personal
touches which always sound totally idiomatic.
This may not be essential Scriabin, but it is enjoyable even though the succession
of brief morsels may induce indigestion if consumed all at once. I found it
best to listen to each set of Preludes individually, allowing them to work
their undeniable charms in small doses.
Paul Corfield Godfrey
Not essential Scriabin but it is enjoyable enough.
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