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
