Information
Composer: Alexander Scriabin
Garrick Ohlsson, piano
Date: 2015
Label: Hyperion
https://www.hyperion-records.co.uk/dc.asp?dc=D_CDA67988
- (01) Deux poèmes, Op. 32
- (03) Poème tragique, Op. 34
- (04) Poème satanique, Op. 36
- (05) Poème, Op. 41
- (06) Deux poèmes, Op. 44
- (08) Trois morceaux, Op. 45
- (10) Scherzo, Op. 46
- (11) Quasi valse, Op. 47
- (12) Trois morceaux, Op. 49: No. 3. Rêverie. Con finezza
- (13) Quatre morceaux, Op. 51
- (16) Trois morceaux, Op. 52
- (19) Quatre morceaux, Op. 56: Nos. 2 & 3
- (21) Deux morceaux, Op. 57
- (23) Feuillet d'album, Op. 58
- (24) Deux morceaux, Op. 59: No. 1. Poème. Allegretto, avec grâce et douceur
- (25) Poème-nocturne, Op. 61
- (26) Deux poèmes, Op. 63
- (28) Deux poèmes, Op. 69
- (30) Deux poèmes, Op. 71
- (32) Vers la flamme 'Poème', Op. 72
- (33) Deux danses, Op. 73
Garrick Ohlsson, piano
Date: 2015
Label: Hyperion
https://www.hyperion-records.co.uk/dc.asp?dc=D_CDA67988
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Initially idolised by a small coterie, Scriabin was also vilified by those who placed reason above passion, clarity above obscurity. Today he enjoys a near classic status and Garrick Ohlsson’s disc of the complete Poèmes provides ample food for thought. Having notched up a huge array of recordings combined with an intensive concert career, his playing now reflects rich experience and musical quality. True, those accustomed to Horowitz’s incandescent response to Scriabin’s neurosis may feel themselves short-changed by Ohlsson’s restraining hand, by a more settled view of an unsettled genius. But there are admirable compensations in playing that can contain even Scriabin’s wilder, least accessible outpourings.
At the same time, even Ohlsson cannot entirely erase evidence of writing of such self-conscious liberation that it finally and ironically becomes caged in its own conventions. Whether frantic or remote, one poème becomes much like another and many of the composer’s more bizarre titles and instructions (‘Désir’, ‘Caresse dansée’, ‘Festivamente, fastoso’, ‘Etrange, capricieusement’, etc) come to seem like a form of desperation, of special pleading in the face of public and critical bafflement. But whether in the Scherzo, Op 46 (jocular in an ironic sense), in the gazelle-like leaps of the Poème ailé, Op 51 No 3, or in the one substantial offering, Vers la flamme, you feel grateful for Ohlsson’s refusal to indulge or over-reach. Finely recorded, his empathy with so many fragmented dreamscapes is lucid and sensitive.
-- Bryce Morrison, Gramophone
More reviews:
BBC Music Magazine PERFORMANCE: **** / RECORDING: ****
http://www.musicweb-international.com/classrev/2015/Feb/Scriabin_poemes_CDA67988.htm
http://www.musicweb-international.com/classrev/2015/May/Scriabin_poemes_CDA67988.htm
https://www.theguardian.com/music/2015/feb/05/scriabin-poemes-review
https://www.audaud.com/scriabin-complete-poemes-garrick-ohlsson-piano-hyperion/
https://www.allmusic.com/album/scriabin-complete-po%C3%A8mes-mw0002810466
https://www.amazon.com/Scriabin-Complete-Poemes-Garrick-Ohlsson/dp/B00QKYTQPU
At the same time, even Ohlsson cannot entirely erase evidence of writing of such self-conscious liberation that it finally and ironically becomes caged in its own conventions. Whether frantic or remote, one poème becomes much like another and many of the composer’s more bizarre titles and instructions (‘Désir’, ‘Caresse dansée’, ‘Festivamente, fastoso’, ‘Etrange, capricieusement’, etc) come to seem like a form of desperation, of special pleading in the face of public and critical bafflement. But whether in the Scherzo, Op 46 (jocular in an ironic sense), in the gazelle-like leaps of the Poème ailé, Op 51 No 3, or in the one substantial offering, Vers la flamme, you feel grateful for Ohlsson’s refusal to indulge or over-reach. Finely recorded, his empathy with so many fragmented dreamscapes is lucid and sensitive.
-- Bryce Morrison, Gramophone
More reviews:
BBC Music Magazine PERFORMANCE: **** / RECORDING: ****
http://www.musicweb-international.com/classrev/2015/Feb/Scriabin_poemes_CDA67988.htm
http://www.musicweb-international.com/classrev/2015/May/Scriabin_poemes_CDA67988.htm
https://www.theguardian.com/music/2015/feb/05/scriabin-poemes-review
https://www.audaud.com/scriabin-complete-poemes-garrick-ohlsson-piano-hyperion/
https://www.allmusic.com/album/scriabin-complete-po%C3%A8mes-mw0002810466
https://www.amazon.com/Scriabin-Complete-Poemes-Garrick-Ohlsson/dp/B00QKYTQPU
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Alexander Scriabin (6 January 1872 [O.S. 25 December 1871] – 27 April [O.S. 14 April] 1915) was a Russian composer and pianist. Scriabin was one of the most innovative and most controversial of early modern composers, and is considered by some to be the main Russian Symbolist composer. Independently of Arnold Schoenberg, Scriabin developed a substantially atonal and much more dissonant musical system. He was influenced by synesthesia, and associated colours with the various harmonic tones of his atonal scale. Scriabin had a major impact on the music world, and influenced composers such as Stravinsky and Prokofiev.
http://en.wikipedia.org/wiki/Alexander_Scriabin
http://en.wikipedia.org/wiki/Alexander_Scriabin
***
Garrick Ohlsson (born April 3, 1948 in New York) is an American classical pianist. Ohlsson was the first American to win first prize in the International Frédéric Chopin Piano Competition, in 1970. Ohlsson is an avid chamber musician and has collaborated with the Cleveland, Emerson, Takács and Tokyo Quartets, among other ensembles. Ohlsson possesses an unusually vast repertoire that ranges over some eighty concertos, range from Bach, Mozart, Beethoven, Chopin to Busoni, Copland, Gershwin and contemporary. He is also known for his exceptional keyboard stretch (a 12th in the left hand and an 11th in the right).
https://en.wikipedia.org/wiki/Garrick_Ohlsson
https://en.wikipedia.org/wiki/Garrick_Ohlsson
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