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Wednesday, August 29, 2018

Alexander Scriabin - Symphonies (Vladimir Ashkenazy)


Information

Composer: Alexander Scriabin

CD1:
  • (01) Symphony No. 1 in E major, Op. 26
  • (07) Prométhée - Le Poème du feu, Op. 60
CD2:
  • (01) Symphony No. 2 in C minor, Op. 29
  • (06) Piano Concerto in F minor, Op. 20
CD3:
  • (01) Rêverie, Op. 24
  • (02) Symphony No. 3, Op. 43 'Le Divin Poème'
  • (06) Le Poème de l'extase, op. 54

Peter Jablonsky, piano
Deutsches Symphonie-Orchester Berlin
Vladimir Ashkenazy, conductor

Recording: 1990-1995
Compilation: 2003
Label: Decca
https://www.deccaclassics.com/us/cat/4739712


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Review

ARTISTIC QUALITY: 9 / SOUND QUALITY: 9

This Scriabin set is one of the finer offerings in Universal’s Trio series. Vladimir Ashkenazy’s crisp phrasing and lean orchestral sonorities contrast markedly with the lush appointments of Riccardo Muti’s cycle, which relies heavily on the voluptuous sound of the Philadelphia Orchestra to make its effect. In this regard Muti scores over Ashkenazy in the First symphony, where the Russian conductor’s crisp, no-nonsense approach sounds comparatively restrained (especially the highly emotive second movement). But the tables turn in Symphony No. 2. Here Ashkenazy’s clarity and focus give much needed shape and rhythmic definition to this music, which tends to meander in Muti’s hands. The finale is a perfect example: muscle with Ashkenazy; mush with Muti.

Ashkenazy’s sharp contours and high energy make for a distinctly compelling account of the rhapsodic Third Symphony, while in Poem of Ecstasy his passionate conducting galvanizes the Deutsches Symphonie-Orchester to produce a stunningly executed, blistering performance. Prometheus does not reach this exalted level (Boulez’s recording is one of the few that do), but Peter Jablonski and Ashkenazy do establish a synergistic rapport that evokes the music’s mysticism. The two artists are just as in sync for Scriabin’s early Chopinesque Piano Concerto, resulting in an elegant yet warmly romantic rendition.

The collection offers an additional bonus in Scriabin’s Reverie. Composed a year after the Piano Concerto in 1898, it nonetheless displays a budding chromaticism along with hints of the sensuality that would typify the composer’s later work. This, plus the excellent soloist and choral contributions–as well as Decca’s clear and powerfully present sound–makes Ashkenazy’s Scriabin set a choice acquisition, especially at the bargain price.

-- Victor Carr Jr, ClassicsToday

More reviews:
http://www.musicweb-international.com/classrev/2003/Aug03/Scriabin_symhonies_Decca.htm
http://www.musicweb-international.com/classrev/2003/Oct03/scriabinashkenazy.htm
https://www.amazon.com/Scriabin-Complete-Symphonies-Concerto-Prometheus/dp/B00009OOJT

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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

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Vladimir Ashkenazy (born July 6, 1937) is a Russian-born internationally recognized solo pianist, chamber music performer, and conductor of Icelandic and Swiss citizenship. He studied with Lev Oborin and Boris Zemliansky at the Moscow Conservatory, and won 2nd prize in the 1955 Chopin competition. Ashkenazy has recorded a wide range of piano repertoire, both solo works and concerti. His recordings have earned him five Grammy awards plus Iceland's Order of the Falcon. Midway through his pianistic career, Ashkenazy branched into conducting and steadily increased his activity.
http://en.wikipedia.org/wiki/Vladimir_Ashkenazy

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