Alexander SCRIABIN (1872-1915)
Symphony No. 3 in C minor, Le Divin Poème, Op. 43 (1902-1904) [48:19]
Symphony No. 4, Poème de l’extase, Op. 54 (1905-1908) [20:21]
Oslo Philharmonic / Vasily Petrenko (conductor)
rec. Oslo Concert Hall, Oslo 2-7 February 2015
Notes included
LAWO CLASSICS LWC1088 SACD [68:41]
Scriabin was always inclined towards mysticism, but it was only while he was living abroad from 1903-1909, that his personal philosophical system began to permeate his musical compositions. Previously, mystical elements had appeared (cf. Symphony No. 2) but with the Symphony No. 3 the late 19th Century Russian style is transformed into the thematic and harmonic style that Scriabin would greatly refine in the Poem of Ecstasy and to the end of his relatively short life.
It has been said of Scriabin’s piano sonatas that he tried to put tremendous ideas into old forms that only constricted them. The Symphony No. 3 is nominally in three movements but they are interconnected and for all intents and purposes it is a large symphonic poem that follows the fast-slow-fast structure of a three-movement symphony. It begins with a stentorian motto-theme before a rather conventional opening leads to passages of advanced (for the time) harmonic and contrapuntal development. Scriabin’s development of his thematic material shows a great advance over the Symphony No. 2 of only two years before. The music is more lyrical than in any of the composer’s other symphonies, especially in the slow movement, although the foreboding motto-theme is never far away. The third movement has more chromatic harmony than the first two and shows masterly combinations of the various themes. It ends with a contrapuntal finale with the motto theme being heard once more before the coda.
By the time Scriabin wrote the Poem of Ecstasy he had basically foregone both symphonic structure and traditional tonality. This combination produces a unique sound: the thematic effect is languorous (a word frequently applied to Scriabin’s music) while the harmonic language is sharp and striking, as is the orchestration, dominated by a solo trumpet. Scriabin manipulates his various thematic groups with great skill towards the shattering climax. This has long been the most popular of his works, essayed by a wide, sometimes surprising, variety of conductors.
The first thing that strikes one about this recording is the sound quality. This is SACD at its best. The recording matches the different emotional aspects of the music perfectly. Its close in when it needs to be and more spacious at appropriate times. The playing of the Oslo Orchestra is more intimate than powerful. This is an advantage in the Symphony No.3 where Petrenko takes a lyrical approach and in which the flutes and horns have very important roles (which they execute perfectly). Petrenko also doesn’t let the music flag as in some performances of this symphony. However, his reading of the Poème de l’extase is less sure and not as exciting as it could be. While he has a good control of the orchestra and they play beautifully, the performance just doesn’t make the impression it should. In short, a fine performance of the Symphony No .3, but only a medium-grade performance of its successor.
William Kreindler
Previous reviews: Dan Morgan
~ Michael Cookson
