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See Terms & Conditions for p&p rates. | |  | Sviatoslav Richter in Warsaw: The Scriabin Recital
Scriabin: | 12 Preludes Op. 11 Preludes, Op. 37 (4) Prelude, Op. 59 No. 2 Piano Sonata No. 2 in G sharp minor, Op. 19 'Sonata Fantasy' Piano Sonata No. 5 in F sharp major, Op. 53 Piano Sonata No. 9, Op. 68 'Black Mass' Poème in C major, Op. 52 No. 1 Étude Op. 42 No. 2 in F sharp minor Étude Op. 42 No. 3 in F sharp major 'La Moustique' Étude Op. 42 No. 4 in F sharp major Étude Op. 42 No. 5 in C sharp minor Étude Op. 42 No. 6 in D flat major Étude Op. 42 No. 8 in E flat major Prelude, Op. 39 No. 3 in G major Prelude, Op. 39 No. 4 in A flat major Prelude, Op. 74 No. 1 Prelude, Op. 74 No. 3 Prelude, Op. 74 No. 4 Prelude, Op. 13 No. 1 in C major Prelude, Op. 13 No. 4 in E minor |
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| |  | Scriabin: Intégrale des Poèmes
Scriabin: | Deux poèmes, Op. 32 Poeme for Piano, Op.41 Poème tragique Op. 34 Poème-Nocturne, Op. 61 Poème Aile, Op. 51 No. 3 Poème for piano, Op. 59 No. 1 Poeme satanique for Piano, Op.36 Poème in C major, Op. 52 No. 1 Quasi Valse, Op. 47 Waltz in A flat major, Op. 38 Poeme languide Op. 52 No. 3 Poème fantasque in C major, Op. 45 No. 2 2 Poems for Piano, Op. 44 Feuillet d'album, Op. 45 No. 1 Poèmes, Op. 69 Nos. 1 & 2 2 Poems for Piano, Op. 63 Deux poèmes Op. 71 Vers la flamme, Op. 72 |
These pieces with their ‘revolutionary’ harmony took the piano into the 20th century. They are a challenge to the interpreter, as they have to master both the spiritual and technical aspects of this composer’s art. Pascal Amoyel more than rises to the challenge. He studied at the Paris Conservatoire and is both a pianist and composer. “Amoyel's first-rate pianism puts clarity, proportion, and controlled freedom above all else and keeps the music's volatile undercurrents alive and active” Classics Today “Pascal Amoyel admits he was driven close to neurosis when preparing his Scriabin recording and found it difficult to re-emerge into the world of other composers. Aphoristic or endlessly protracted, seemingly lost in a harmonic limbo or fiercely to the point, such music is indeed challenging to both listener and performer.
For Amoyel the tirelessly extended Poème-nocturne is 'phantasmagorical, ill-defined and confused' (terms he intends as the greatest compliment) and his playing on what he describes as a 'rather sombre-sounding Steinway' amply conveys his enthusiasm.
He is acutely sensitive to the dark mystery at the heart of the Op 41 Poème, its final section a decadent memory of Chopin's Op 10 No 6 Etude, and responds with refinement as well as energy to the Poème tragique with its demands of festivamente, fastoso, irato and fiero. In the Poème satanique (music indelibly associated with Sofronitsky) light is stalked by darkness in a menacing game of tag, while the enchanting Op 38 Valse is an all- Russian extension of the world of Liszt's Valsesoubliées. The Op 69 No 2 Poème is a notably grotesque danse macabre and in the final Vers laflamme Amoyel takes us on a mesmeric journey from threatening shadows to searing brilliance.
Yet even here he resists virtuoso temptations, making it odd that he should be described in France as one of Cziffra's 'spiritual heirs'. Confidentiality and insinuation are his hallmarks rather than wildness or flamboyance. Calliope's sound, like Amoyel's instrument, is subdued but it hardly detracts from an experience that is stifling or exhilarating, according to taste.” Gramophone Classical Music Guide, 2010 “Amoyel makes the 3 minutes of this first Poème blissful to listen to - a sweet polyphony of floating lines, a pure rubato. In the title of Poème languide, the manner is explicit, but there are also heavily insistent, iteratively
chordal items, such as Poème satanique. Vers la flamme memorably combines the approaches. Poème fantasque self-destructs in 29 seconds.” Sunday Times | | | This item is currently out of stock at the UK distributor. You may order it now but please be aware that it may be six weeks or more before it can be despatched. |
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| |  | Winners of the Fourth International Scriabin Competition
Scriabin: | Preludes, Op. 22 (4) Enigme, Op. 52 No. 2 Poème in C major, Op. 52 No. 1 Ironies Op. 56 No. 2 2 Poems for Piano, Op. 63 Three Etudes Op. 65 (1911/1912) Two Mazurkas, Op. 40 Preludes, Op. 48 (4) Deux poèmes Op. 71 2 Impromptus, Op. 14 Piano Sonata No. 9, Op. 68 'Black Mass' Feuillet d'album, Op. 45 No. 1 Prelude, Op. 45 No. 3 in E flat major Nuances, Op. 56 No. 3 Étude Op. 56 No. 4 Étude Op. 42 No. 4 in F sharp major | Taneyev: | Prelude in F major |
DDD | | | Usually despatched in 8 - 10 working days. |
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| |  | The Art of Sofronitsky: Scriabin
Scriabin: | 12 Preludes Op. 11 Prelude, Op. 9 No. 1 in C sharp minor for the left hand Prelude, Op. 22 No. 2 in C sharp minor Prelude, Op. 15 No. 1 in A major Prelude, Op. 13 No. 1 in C major Poème in C major, Op. 52 No. 1 Poème for piano, Op. 59 No. 1 Poème Aile, Op. 51 No. 3 Poeme languide Op. 52 No. 3 Masque, Op. 63, No. 1 Poeme satanique for Piano, Op.36 Poème, Op. 32 No. 2 Poème in F sharp major, Op. 32 No. 1 Poèmes, Op. 69 Nos. 1 & 2 Deux Danses Op. 73 Deux poèmes Op. 71 Fragilite, Op. 51, No. 1 Feuillet d'album, Op. 45 No. 1 Piano Sonata No. 4 in F sharp major, Op. 30 Poème tragique Op. 34 Waltz in A flat major, Op. 38 Étude Op. 8 No. 11 in B flat minor |
Vladimir Sofronitsky (piano) ADD | | | Usually despatched in 8 - 10 working days. |
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| |  | Sofronitzky plays Russian Music
Scriabin: | Prelude, Op. 11 No. 1 in C major Piano Sonata No. 3 in F sharp minor, Op. 23 Piano Sonata No. 2 in G sharp minor, Op. 19 'Sonata Fantasy' Poème, Op. 32 No. 2 Poem for Piano, Op. 44, No. 1 Ironies Op. 56 No. 2 Désir, Op. 57 No. 1 Polonaise, Op. 21 Étude Op. 42 No. 4 in F sharp major Étude Op. 42 No. 6 in D flat major Waltz in A flat major, Op. 38 Prelude, Op. 11 No. 3 in G major Prelude, Op. 11 No. 6 in B minor Prelude, Op. 11 No. 7 in A major Prelude, Op. 11 No. 8 in F sharp minor Prelude, Op. 11 No. 11 in B major Prelude, Op. 11 No. 12 in G sharp minor Prelude, Op. 11 No. 13 in G flat major Prelude, Op. 11 No. 17 in A flat major Prelude, Op. 11 No. 20 in C minor Prelude, Op. 13 No. 1 in C major Prelude, Op. 11 No. 2 in A minor Prelude, Op. 13 No. 3 in G major Prelude, Op. 11 No. 4 in E minor Prelude, Op. 11 No. 5 in D major Prelude, Op. 13 No. 6 in B minor Prelude, Op. 15 No. 1 in A major Prelude, Op. 9 No. 1 in C sharp minor for the left hand Prelude, Op. 11 No. 9 in E major Prelude, Op. 11 No. 10 in C sharp minor Prelude, Op. 22 No. 2 in C sharp minor Prelude, Op. 16 No. 2 in G sharp minor Prelude, Op. 16 No. 5 in F sharp major Prelude, Op. 16 No. 4 in E flat minor Prelude, Op. 11 No. 15 in D flat major Prelude, Op. 11 No. 16 in B flat minor Prelude, Op. 11 No. 19 in E flat major Prelude, Op. 11 No. 21 in B flat major Prelude, Op. 11 No. 22 in G minor Prelude, Op. 11 No. 24 in D minor Poème in C major, Op. 52 No. 1 Poème for piano, Op. 59 No. 1 Poème Aile, Op. 51 No. 3 Masque, Op. 63, No. 1 Poeme satanique for Piano, Op.36 Piano Sonata No. 9, Op. 68 'Black Mass' Poèmes, Op. 69 Nos. 1 & 2 Flammes sombres, Op. 73 No. 2 Guirlandes, Op. 73 No. 1 Piano Sonata No. 10, Op. 70 Fragilite, Op. 51, No. 1 Feuillet d'album, Op. 45 No. 1 Étude Op. 42 No. 5 in C sharp minor Mazurka, Op. 40 No. 2 Étude Op. 8 No. 12 in D sharp minor |
Vladimir Sofronitzky (piano) ‘He played like a god – he looked like a god’ Heinrich Neuhaus Vladimir Sofronitsky was born in St Petersburg in 1901, the youngest of 6 children. He studied in Warsaw with Anna Lebedeva-Getsevich, a pupil of Anton Rubinstein, and, on the recommendation of Glazunov, further studies with Alexander Michalowski. Michalowski was a pupil of Moscheles, Reinecke and Tausig, so the Beethoven – Mendelssohn – Liszt line was seamless. Composition classes with Maximillian Steinberg (Rimsky’s son-in-law) followed as did a period of study with Leonid Nikolayev, who also taught Shostakovich. In 1917, Scriabin’s daughter Elena enrolled under Nikolayev, and she and Sofronitzky married in 1920 and moved to Paris, where their circle included members of the Scriabin family, Glazunov, Prokofiev (a good friend), Medtner and Cortot. In July 1945 he played for Stalin, Gromyko, President Truman and Churchill at the Potsdam Conference. His career revolved around concerts, recording and teaching, and his repertoire was broad – from Bach and Scarlatti, Clementi, Mozart, Beethoven and Schubert, to Chopin and Liszt, Schumann, a little late Brahms, a little Ravel and Debussy and Poulenc. Russian repertoire included Balakirev’s Islamey, and Tchikovsky’s Seasons and some Liadov. Scriabin reigns supreme (except the 7th Sonata ‘White Mass’ Sofronitzky was superstitious), Glazunov, Medtner, Prokofiev, Rachmaninov and Shostakovich also figure prominently. During the Cold War, he took a shine to Glenn Gould, and Van Cliburn, and Lazar Berman was a disciple. ‘I would proceed to the concert as if going on a blind date, anticipating something completely unknown, mysterious and wonderful, in other words, a miracle! He approached the piano and the magic began’ Stanislav Neuhaus, Recollections | | | In stock - usually despatched within 1 working day. |
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