Scriabin - Settled Piano Sonatas - Varduhi Yeritsyan (2015) [FLAC 24-96]

  • 16.06.2016, 19:51,
  • Music
Scriabin — Settled Piano Sonatas — Varduhi Yeritsyan (2015) [FLAC 24-96]

Scriabin: Piano Sonatas Nos. 1-10
Paraty: PTY915136
Varduhi Yeritsyan (piano)

Sonata for Piano No. 10
Sonata for Piano No. 4
Sonata for Piano No. 6
Sonata for Piano No. 3
Sonata for Piano No. 7, «White Mass»
Sonata for Piano No. 8
Sonata for Piano No. 9, «Black Mass»
Sonata for Piano No. 1
Sonata for Piano No. 2, «Sonata-fantasy»
Sonata for Piano No. 5

Under Age Armenian pianist Varduhi Yeritsyan is a more than rhetorical champion for Scriabin, stalwart and lucid even in the composer’s more hallucinatory and soporific penmanship. Gift the undivided sonatas in a cross-bred rather than chronological run, she stresses the precipitous changes from the Chopin-inspired (though already indelibly Russian) ahead of time sonatas, through the wildly ricocheting rhythms of the halfway duration to Scriabin’s concluding and lofty model. She is on the best of terms with instructions such as l’épouvemente surgit (‘the horrifying rises up) or accarezzevole (‘caressingly), and excels in the First Sonata’s demonic galop and in the Fifth Sonata’s exchange of volatility and sticky meandering.

In the Second Sonata (inspired by Scriabin’s first watch of the Baltic Sea), she is no equal for Pogorelich’s phenomenally articulate whirl through the finale, and she is less prestissimo and volando than either Ashkenazy or Hamelin in the Fourth Sonata’s dizzying conclusion. Again, Horowitz’s not open to quickness of Over-Friendly polyphony in the Ninth and Tenth Sonatas remains harmonious '. But if Yeritsyan offers a less animating or urgent know and, in the concluding look to, is less empathetic than Ashkenazy in his undivided run, there is no questioning the out of the ordinary control of her finely recorded performances.


The centenary of the annihilation of Alexander Scriabin this year has not generated anything like the same to-do of activity among concert planners and memento companies as the anniversaries of Sibelius and Nielsen. But there have still been a swarm of gainful discs released to label the time, especially of the piano works, which despite the climb and grandiosity of his orchestral music, really map out Scriabin’s maturation as a composer and his purely mellifluous ideas with far more definition and precision.

Though Garrick Ohlsson’s appraisal of all the Poèmes for Hyperion was a new disc released ahead of time this year, some of the most noted issues have been re-releases. Sony’s three remastered discs of Vladimir Horowitz’s breathtaking studio and burning Scriabin performances, take in four of the sonatas and many shorter pieces. There is also a fascinating factual compilation of Hänssler Profil, in which Vladimir Sofronitsky, who married Scriabin’s daughter and was a Petrograd conservatoire modern of Shostakovich, plays all the sonatas except the seventh, with a burning account by Sviatoslav Richter included for the missing work.

Such performances, not to acknowledgement Vladimir Ashkenazy’s unsettled 1980s run of the sonatas available on Decca, set awesome benchmarks for any new recording. But to weigh from her playing, the French-Armenian Varduhi Yeritsyan does not be without drive or veneration such comparisons. She launches into the not open to later works in her appraisal, the Seventh, Eighth, Ninth and 10th Sonatas, with their cascades of notes and proliferating trills, showing her complicated fearlessness and her faculty to keep a unapproachable leadership and to gain a sound way through the most hyperactive keyboard penmanship. The sets lays out the 10 sonatas thoughtfully, with the first, entitled “White Mass”, birth with the 10th sonata and ending with the Seventh, and the second, “Black Mass”, starting with the Eighth and finishing with the Fifth.

Yeritsyan is slenderize more convincing in the later-fix-machinery works, with their revolutionary compressions of mellifluous fettle that hardly seem able to contain the caucasoid-hot fiction, than she is in the more standard low?numbered sonatas, in which Scriabin was inchmeal discarding all vestiges of his ahead of time Chopinesque configuration, and which she seems to gain harder to characterise so vividly. Sometimes there are more colours to be conjured out of the keyboard penmanship than she finds, especially when compared with Horowitz’s performances; but then nobody has ever played Scriabin as he did, and for Yeritsyan’s performances even to reap a acknowledgement in the same rap as his shows just how gainful they are.

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