SCRIABIN Symphonies Nos 1 & 4
View record and artist detailsRecord and Artist Details
Composer or Director: Alexander Scriabin
Genre:
Orchestral
Label: Pentatone
Magazine Review Date: 08/2015
Media Format: CD or Download
Media Runtime: 76
Mastering:
DDD
Catalogue Number: PTC5186 514
Tracks:
Composition | Artist Credit |
---|---|
Symphony No. 1 |
Alexander Scriabin, Composer
Alexander Scriabin, Composer Mikhail Gubsky, Tenor Mikhail Pletnev, Conductor Moscow Conservatoire Chamber Choir Russian National Orchestra Svetlana Shilova, Soprano |
Symphony No 4, The Poem of Ecstasy |
Alexander Scriabin, Composer
Alexander Scriabin, Composer Mikhail Pletnev, Conductor Russian National Orchestra |
Author: Geoffrey Norris
Unlike later works, there is also, for all the sinuous chromaticism, a strong tonal pull: E major for the first movement, E minor for the second, B major for the third, C major for the fourth, E minor again for the fifth and back to E major for the sixth, albeit with an interpolated textbook fugue in C major. The music of the first movement, like so much in this symphony, moves in waves, ebbing, flowing, crashing, subsiding. The same goes for the headier, more perfumed world of The Poem of Ecstasy, by turns hovering hypnotically and feverishly animated.
And this is where Pletnev makes his particular mark. He puts in one or two ritardandos that are absent from the Belyayev score of the First Symphony, but they seem naturally to emerge from the music’s context, as indeed does the entire spectrum of pulse that guides Pletnev’s interpretation. He has an innate feel for the symphony’s and The Poem of Ecstasy’s shape and colour, by no means afraid to let rip when full instrumental forces are in play but also well aware that Scriabin could use his palette of timbres with telling discretion.
The paean to art in the symphony’s finale deploys two fine soloists, the soprano Svetlana Shilova and the tenor Mikhail Gubsky, the latter’s singing being no less stirring for his shunning of the two alternative top Bs. The Chamber Choir of the Moscow Conservatoire, well drilled and clear in articulation and words, are ideal. These are performances in which you sense that the RNO and all the artists involved have this music coursing through their very veins, a quality on which Pletnev capitalises to craft readings that thrill and seduce in equal measure.
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