Scriabin: Piano Sonata No. 4 in F sharp major, Op. 30

Although he wrote four symphonies and a small number of other orchestral works, the vast majority of Alexander Scriabin's (1872-1915) output was written for solo piano, and it is this aspect of his work that is presented on the two CDs in this set.

One of his early influences was the music of Chopin: the Piano Concerto that he wrote when he was just 24 years old is a perfect illustration of this. The effect of Chopin can also be detected in the early Preludes that begin the first CD.

It was during a six-year stay in western Europe, beginning in 1903, that his compositional style developed and became more individual and harmonically adventurous. The music that Scriabin wrote during the final five years of his life was all written for the piano and reflects his mature style, making his music some of the most advanced of the time. It was whilst on a visit to London in 1914 that Scriabin suffered a wound to his upper lip which eventually led to the blood poisoning from which he died a year later.

This recording was conceived as a portrait of the artist through the mosaic of his works, proceeding in chronological order – from the age of innocence to the age of experience.

Scriabin’s cycle of Piano Sonatas is one of the most visionary and dramatic in the canon. The First dates from 1892, written at a time of crisis in his life, and is a passionate, emotionally unstable work, whilst No. 4, completed over a decade later, embodies the new developments in his stylistic armoury. The Eighth was the last of the ten to be completed, and it approaches the zenith of Scriabin’s art in its intricacy, poetry and complex tapestry of textures. The Poèmes and Morceaux represent, in even more concentrated form, the harmonic allure of Scriabin’s writing. The youngest ever laureate of the International Tchaikovsky Competition in Moscow in 1994, and winner of the 2007 Cleveland International Piano Competition, Alexander Ghindin has established himself as a major pianist of distinction.

Following his critically acclaimed Claves release ‘Metamorphonse(n)’ – cat.no 502905, Joseph Moog focuses his attention to contrasting worlds of the first half of the 20th century. The young German pianist presents rare works by Jongen, Reger & Scriabin with the booklet notes comparing the three in a most interesting way - “French spirit, German soul and Russian Mysticism,” all in all, an intriguing combination.

Recorded: St. John’s, Smith Square, London, 15 October 1984 (Scarlatti, Debussy)

Memorial Hall, Farringdon Street, London, 22 April 1957 (Beethoven, Scriabin, Prokofiev)

This CD contains some of the first and last recordings the great Russian pianist Emil Gilels (1916-1985) made for the BBC. The lunchtime concert at the church of St. John's, in Smith Square, London on 15 October 1984 was to be his last performance in London.

Gilels liked to play a selection of Scarlatti's sonatas - what he referred to as 'a bouquet'. He included five of them on his first BBC Legends CD (BBCL40152) from his April 1957 BBC studio recording. Here we have another 7 Scarlatti sonatas recorded in excellent stereo.

Gilels first performed Debussy's 'Pour le Piano' in December 1953 only playing it a few times. After the mid 1950s, he did not play it again until the end of May 1984, five months prior to this stereo live concert. When referring to this concert Nicholas Kenyon wrote of Gilels performance of 'Pour le Piano'; 'But this is… more than the sheer creation of sound. For every wonderfully contrived sound reflects a conviction about the music: it is a total fusion of composer and interpreter that tells us for a few exalting moments, that the music can only sound this way.'

Although he toured the UK for the first time at the end of 1952, Gilels did not record for the BBC until April 1957. Apart from the five sonatas by Scarlatti which were issued on BBCL 4015-2, we have here works by Beethoven, Scriabin and Prokofiev. As persuasive and pliant as his performance is here, it would appear that Gilels did not play this sonata again until he came to record it commercially in the studio in 1974. From Scriabin's ten Piano Sonatas, Gilels only played No.1 in the early 1950s, No.3 only in 1983-84, and No.4 in 1955-57. In this performance of No. 4, Gilels ability to combine great delicacy and enormous controlled power are ideal for this work. From Prokofiev's Piano Sonatas Gilels only played Nos. 2, 3, 7 and 8.