Scriabin - Piano Sonatas (2012) [FLAC] {Dmitri Alexeev}

  • 16.06.2016, 10:21,
  • Music
Scriabin — Piano Sonatas (2012) [FLAC] {Dmitri Alexeev}
Scriabin — Piano Sonatas (2012) [FLAC] {Dmitri Alexeev}

Scriabin: Piano Sonatas Nos. 1-10
Eminent Classics: 94388

Dmitri Alexeev (piano)
CD — 2 discs

Trade Name:Eminent Classics
Catalogue No:94388
Let Go era:10th Sept 2012
Magnitude:2 hours 24 minutes

Notes and Review
SCRIABIN Accomplish Piano Sonatas • Dmitri Alexeev (pn) • EMINENT 94388 (2 CDs: 143:53)

For many of us who grew up in the 1960s and ’70s, the earliest pioneers of new/old repertoire always seem to be the ultimate interpreters. Are there any of us, for precedent, who do not like at least some of Leonard Bernstein’s Mahler recordings? Do we not perceive that, no substance how sizeable Marc-André Hamelin is at playing Alkan (and he is), no one can put Raymond Lewenthal for his rare mosaic of gigantic faculty Interpret more are the best. I’ve had happening, recently, to download and lend an ear to to soprano Radiana Pazmor’s groundbreaking 1934 recording of Charles Ives’s kerfuffle b evasion, “General William Cubicle Enters Into Isles Of The Blessed,” and I’m here to tell you that although the kerfuffle b evasion had to be slenderize abridged to fit on one side of a 78-rpm /, no one sings it better. Her mosaic of a truly tasty say, spotless faculty, cleanse presentation, and gigantic interpretive skills are as awe-inspiring now as they were then.

The same understanding, for me at least, extends to Ruth Laredo’s magical recordings of Scriabin’s accomplish piano sonatas. From The First issued on the now-deceased Connoisseur trade name, they were so extraordinarily prized by critics and collectors that the masters were bought by Nonesuch who did the overjoyed a favor and reissued them. To the best of my reminiscence, they have never been out of writing since, and rightly so. Laredo’s passion, spell out, astonishing call the tune of nuance at the softest energetic levels, and yawning-in-the-keys hale and hearty fly these old analog recordings hover with mind-boggling majesty and vehemence (although even this can be subjective—two reviewers on Amazon establish her readings banal or ennuyant). Some things are just so sizeable that newcomers and competitors always seem to descent definitely.

Thus you can interpret that I always proem any new recording of Scriabin piano sonatas by playing Laredo first, just to cause to remember myself of all the little details she got out of them in totalling to her overall reason of form. And this every so often, just to be satisfactory, I started my listening with the last five sonatas, which are among the most advanced and illustrious of Scriabin’s compositions.

One preoccupation that struck me pronto was the more carnal hale and hearty of Dmitri Alexeev’s supple passages compared to Laredo’s. Although his playing does not deficit tension or histrionics, he seems to have taken his cue more from the About this inundation:s of Scriabin’s own playing, which did not rely on power because of his indignity found. Rather, he “captivated the listener through his wit to add to his hale and hearty with an uncommon cooker and gradation of color…his fingers professedly plucked the hale and hearty from the piano keys…as if his hands flew over the keyboard just soul-stirring it.” This rigorous same About this inundation: can also be applied to Debussy’s playing as heard on his studio recordings and Welte piano rolls; but, of course, there are, and have been, many different and omitting interpreters of Debussy whose playing did not entirely depict the composer’s, and such is the covering here with Scriabin.

Alexeev’s agent also has a much warmer hale and hearty than Laredo’s, or at least the microphones used captured a warmer hale and hearty. Another intriguing preoccupation: Somehow or other, Alexeev manages to shun the slenderize creepy understanding one gets from listening to Laredo’s Scriabin. Even though he is playing the rigorous same notes, with almost the rigorous same energetic stresses and phrasing, Alexeev’s indisputable conclusion is often more lyrical and less unfriendly sounding. Is this a sizeable preoccupation or a bad one? You’ll have to fly that fortitude yourself. In some moments I establish Laredo exceptional, in others Alexeev. In certain passages, particularly the very histrionic interludes and connecting phrases, I establish them rival. And no dubiousness about it, the recorded hale and hearty is much warmer in the new recording.

The dubiousness you must ask yourself, then, is: Do I like hearing Scriabin’s sonatas played with more geniality and less edginess? It’s an intriguing dubiousness, and not all in all a debatable purpose. Artur Schnabel, Annie Fischer, and Craig Sheppard all played the Beethoven sonatas in a much edgier style than did Backhaus or O’Conor, and yet there are certain sonatas from the Backhaus and O’Conor sets that I like better to Schnabel, Fischer, or Sheppard. I also take that in certain places, for precedent the toe four minutes of Sonata No. 6, Alexeev’s almost magically supple put comes closer to the About this inundation:s in the booklet of Scriabin’s own playing. It might also be mentioned that Alexeev’s performances are all, with only two exceptions, longer than Laredo’s to a lesser or greater situation.

Download torrent