Scriabin - Mazurkas, Poemes & Impromptus
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Label: Brilliant Classics
Cat No: 95931
Format: CD
Number of Discs: 3
Genre: Instrumental
Release Date: 19th February 2021
Contents
Works
Allegro appassionato, op.4Allegro de concert, op.18
Dances (2), op.73
Fantasy in B minor, op.28
Feuillet d'album, op.58
Feuillet d'album in F sharp major (1900)
Impromptus (2), op.10
Impromptus (2), op.12
Impromptus (2), op.14
Impromptus a la Mazur (2), op.7
Mazurkas (2), op.40
Mazurkas (9), op.25
Mazurkas (10), op.3
Morceaux (2), op.57
Morceaux (2), op.59
Morceaux (4), op.51
Nocturnes (2), op.5
Pieces (3), op.45
Poeme for piano, op.41
Poemes (2), op.32
Poemes (2), op.44
Poemes (2), op.63
Poemes (2), op.71
Poeme satanique for piano, op.36
Poeme tragique, op.34
Polonaise, op.21
Scherzo, op.46
Vers la flamme, op.72
Waltz in A flat major, op.38
Waltz in F minor, op.1
Artists
Dmitri Alexeev (piano)Works
Allegro appassionato, op.4Allegro de concert, op.18
Dances (2), op.73
Fantasy in B minor, op.28
Feuillet d'album, op.58
Feuillet d'album in F sharp major (1900)
Impromptus (2), op.10
Impromptus (2), op.12
Impromptus (2), op.14
Impromptus a la Mazur (2), op.7
Mazurkas (2), op.40
Mazurkas (9), op.25
Mazurkas (10), op.3
Morceaux (2), op.57
Morceaux (2), op.59
Morceaux (4), op.51
Nocturnes (2), op.5
Pieces (3), op.45
Poeme for piano, op.41
Poemes (2), op.32
Poemes (2), op.44
Poemes (2), op.63
Poemes (2), op.71
Poeme satanique for piano, op.36
Poeme tragique, op.34
Polonaise, op.21
Scherzo, op.46
Vers la flamme, op.72
Waltz in A flat major, op.38
Waltz in F minor, op.1
Artists
Dmitri Alexeev (piano)About
This set gathers all the works that do not belong to the uniform cycles of the previous three releases, and the title captures three interesting trends in this huge range of opus numbers spanning 25 years, without being overly prescriptive. The Mazurkas represent a youthful devotion to Chopin that matured into lifelong inspiration; the many Poèmes (whether or not they bear that specific title) are emblematic of the imagery and emotional and spiritual content with which the works are imbued; and the Impromptus evoke Scriabin’s mould-breaking compositional freedom and the genius of his idiosyncratic stream of consciousness and individual pianism. There are other noteworthy genres here with an important place in his piano output, including sonata-form movements that ultimately would be stand-alone pieces, nocturnes, other dances, and a pair of album leaves.
Many of these pieces provide this collection with valuable continuity, constituting bridges in the development of the composer’s art and pianism between the individual sonatas, études and preludes that feature in the previous volumes. Or they provide context: for example, the three pieces of Opus 51 given here are the companions to the Prelude op.51 no.2 that featured alone in the previous prelude cycle. As such they are not a “catch all” but a worthy and indispensable final piece of the puzzle depicting this extraordinary creator.
As the performer writes in his own probing liner notes for the set, “It is not simply as a musician that Scriabin takes his place in the history of Russian art. His creativity has been an inexhaustible source of inspiration for many composers, poets, artists and philosophers. His name has become a symbol of the aspirational venture into the future, of flight into the unknown, of eternal youth. This he will be for countless generations to come.”
Russian pianist Dmitri Alexeev is one of the world’s most highly regarded artists. His critically acclaimed recitals on the world’s leading concert stages and concerto appearances with the most prestigious orchestras have secured his position as one of “the most remarkable pianists of the day” (Daily Telegraph).
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