|VVCD - 00085
Piano Concerto fis-moll, op.20
Symphony № 2 c-moll, op.29
Conductor Vladimir Fedoseyev
Recorded: 2.10.1982; 14.02.1979
Restoration: Vista Vera, 2005
Skriabin's Piano concerto is the only one he wrote
in this genre. (Let's note however that there is an example of entirely
different synthesis of symphonic and piano music in his symphonic
poem Prometheus with a thoroughly written part of piano.) The piano
concerto was written in 1896 - 1897. It's Scriabin's first fully
completed score. The composer was probably guided more by concertos
by Chopin rather than Liszt or Tchaikovsky. The main theme of the
Concerto reminds of the best pages of the Russian elegiac music
of the late X1X century including Skriabin's preludes and…the main
theme of the Rachmaninov's First piano concerto that was also written
in F sharp minor. One could notice that in these two concertos two
great Russian composers, Rachmaninov and Skriabin, come near to
each other at a minimal distance.
Whatever the significance of the part of piano in Concerto the orchestra
"does not only plays the role of accompanying it. The drive
towards dramatic development differs it from typically chamber concertos"
(Victor Delson). The dramatic culmination of the first movement
comes like a prototype of Skriabin's future orchestral apotheoses.
Orchestra also plays an important role in the Finale that represents
a most developed symphonic part of the concerto. Dramatic and lyrical
elements coexist here in the main theme.
A slow movement of the composition includes a theme with four variations.
A meditative lyrical theme is typical for Skriabin's slow music
of his early period. Melodic character of the theme and the development
of variations remind of piano style by Anatolii Lyadov. One can
see genre prototypes in some variations (the second sound like scherzo,
the third reminds a funeral procession, a little bit like march
from the First sonata, and the fourth variation comes like nocturne).
Symphony No 1 in E major (1899 - 1900) became the first experience
of a multipartite program-music composition. Although the program
of the music is somewhat hidden here Scriabin combines a six-part
cycle into a coherent musical poem with a choral finale. This gives
us a clear vector of the road leading eventually towards The Poem
of Ecstasy, Prometheus, and his late piano sonatas.
A number of movements in the Scriabin's Symphony No 2 C minor (1901)
is also somewhat uncommon. There are five of them. However the structure
and dramatic composition of the cycle come out clearer and more
consistent than in the First symphony. One can take the first two
movements as an introduction and exposition, the third - a collateral
one, the forth - an elaboration, the fifth - a reprise and coda
of some kind of a one-part sonata-like cycle of a "higher-order
mode" in music. To substantiate this interpretation one could
mention that the first movement sort of grows into the second one,
the forth movement into the fifth one. Besides, and this is even
more important, the symphony brilliantly and consistently develops
monothematic principle. Dramatic and lyrical themes of the whole
composition grow out of the theme of the first slow movement.