Alexander
Scriabin’s music bridged the great Russian romantic era of Rachmaninov
and Tchaikovsky into the twentieth century - a century advancing
rapidly under the banners of fellow-countrymen Stravinsky and
Prokofiev et al. The Moscow-born composer was an enigma
in his day and perhaps is still a mystery to many today. It is
easy to relegate Scriabin’s music into the background and focus
on his unconventional lifestyle which included passions such as
theology, philosophy, mysticism, the occult, theosophy and pantheism.
Influential
music writer Mark Morris in 1996 expressed the view that,
"Scriabin
was like a brief comet flaring in the musical sky, scattering
remnants of his trail after him but leaving little impression."
I
understand the sentiments behind the above viewpoint, however
there seems to be a recent groundswell of opinion that regards
Scriabin’s music as influential and takes him increasingly more
seriously. This may be due to the number of recent fine recordings
of his orchestral works.
This
Decca Trio set is a most comprehensive digital collection of previously
released material. It features Scriabin’s major orchestral scores
under the baton of Vladimir Ashkenazy with the Deutsches Symphonie-Orchester
of Berlin. These were originally released between 1991-96. The
rarely heard Andante for strings, the Fantasy for piano
and orchestra, and the Symphonic poem in D minor
plus several piano pieces transcribed for piano and orchestra
are Scriabin’s only orchestral works not included on this release.
Symphony
No.1 in E major, Op.26
This
symphony is an example of early period Scriabin, reminiscent of
the style of the Wagnerian school rather than that of fellow-countryman
Glinka. Personally I feel that Elgar was influenced by this work
as I hear echoes of Scriabin in his later symphony No.1 particularly
in the big theme of the fifth movement Allegro. Ashkenazy
has complete control of the ambitious proportions of this six
movement work in which he holds the performance together with
impressive concentration, displaying excellent pace. The two soloists
mezzo-soprano Brigitte Balleys and tenor Sergei Larin are poetic
choices and combine perfectly with the incandescent chorus.
Prometheus,
the Poem of Fire (Symphony No.5 in F sharp major), Op.60
Scriabin’s
Prometheus, the Poem of Fire was his last completed orchestral
work. In it he attempts to create a mystical atmosphere and uses
advanced harmonies with a psychological programme. In this single
movement score Scriabin has included a solo piano part and a wordless
chant from a mixed-voice chorus. This is an intense and glorious
performance of Scriabin’s sumptuous score; which borders on the
decadent.
Symphony
No.2 in C minor, Op.29
In
this five movement symphony Scriabin avoids the more conventional
forms and begins to develop a more individual style of orchestral
composition. The work is renowned for presenting manifold difficulties
for a conductor if it is to be brought off successfully. Ashkenazy
is clearly not at all phased by the demands of Scriabin’s opulent
sound-world. He is splendidly persuasive in a strong and powerful
reading which seems to inspire his Berlin orchestra to distinguished
heights.
Piano
Concerto in F sharp minor, Op.20
Scriabin
was a successful virtuoso concert pianist and a Professor of pianoforte
at the Moscow Conservatory so it is no surprise that his first
large scale orchestral work should be a piano concerto. The concerto
is in a traditional three movement form and breaks little new
ground - an unashamedly late-romantic score. Soloist Peter Jablonski
dramatically displays his authority and imagination throughout
the virtuoso demands of the work’s romantic spirit. The playing
from the Deutsches Symphonie-Orchester is of comparable distinction
making this an illuminating and compelling performance.
Reverie,
Op.24
This
brief four minute long orchestral prelude is a fine example of
Scriabin’s early command of orchestration. Ashkenazy and his Berlin
orchestra find little difficulty in mixing the correct blend of
orchestral colours and provide an inspired atmosphere which the
booklet describes as a ’dreamy sensuality’.
Symphony
No.3, Op.43 ’The Divine Poem’
Scriabin
devised this work in three sections to which he gave the descriptions
‘Struggles’, ’Delights’ and ’Divine joy’ together with a short
introductory section. Played without a break The Divine Poem
is actually a tone-poem with a programmatic title and is conceived
on massive scale calling for vast orchestral forces which Ashkenazy
hold together with superb authority. The orchestral playing is
glorious and stunningly rich in texture with a remarkable detail.
The
Poem of Ecstasy, Op.54 (Symphony No.4)
This
is a single movement symphony to which Scriabin published a text
in verse which he called a ’philosophical programme’. Scriabin
uses motives played by specific instruments to represent actions
and feelings and in addition utilises themes to symbolise various
scenes and states. Maestro Ashkenazy obtains a masterful and exciting
performance from the Deutsches Symphonie-Orchester, capturing
that often elusive creative spirit, so fundamental to the success
of the score.
There
are several alternative versions that cover all or the majority
of the same territory. Most notably the sets that I am most familiar
with are from Neemi Järvi with the Chicago Symphony Orchestra/Danish
RSO/Royal Scottish National Orchestra, on Chandos CHAN 2411-5,
Riccardo Muti with the Philadelphia Orchestra on EMI 5677202,
Leif Segerstam with the Stockholm Philharmonic Orchestra on BIS
CD534/5 and the cycle under Igor Golovschin with the Moscow Symphony
Orchestra on Naxos 8.550818 and 8553580/1/2. I must also single
out a most exhilarating version of Prometheus, the Poem of
Fire from Valery Gergiev with the Kirov Orchestra on Philips
4467152 coupled with Stravinsky’s Firebird.
This
Decca re-release was recorded at two separate Berlin locations
between 1990 and 1995. The Decca sound engineers have managed
to provide a most consistently excellent warm and clear sound
quality across all works. The booklet notes are concise yet informative
but without any information on the performers.
It
is difficult to find any shortcomings in Ashkenazy’s wonderful
survey of Scriabin’s major orchestral works. I cannot recall the
last time I was so impressed with a complete set of orchestral
works from a single composer and there are currently no alternative
versions that I would give preference to. Richly colourful, imaginative,
expressive and often sumptuous scores that are wonderfully performed
and recorded. A highly recommendable release given my strongest
advocacy.
Michael
Cookson
Peter Jablonski (piano)
2, 3