Scriabin - Complete Piano Sonatas - Varduhi Yeritsyan (2015) [FLAC 24-96]seeders: 17
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Scriabin - Complete Piano Sonatas - Varduhi Yeritsyan (2015) [FLAC 24-96] (Size: 1.94 GB)
Description http://www.varduhiyeritsyan.fr/ 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 Young Armenian pianist Varduhi Yeritsyan is a more than eloquent advocate for Scriabin, powerful and lucid even in the composer’s more hallucinatory and narcotic writing. Offering the complete sonatas in a mixed rather than chronological sequence, she stresses the abrupt changes from the Chopin-inspired (though already indelibly Russian) early sonatas, through the wildly ricocheting rhythms of the middle period to Scriabin’s final and rarefied ideal. She is on the best of terms with instructions such as l’épouvemente surgit (‘the frightening rises up) or accarezzevole (‘caressingly), and excels in the First Sonata’s demonic galop and in the Fifth Sonata’s alternation of volatility and sultry meandering. In the Second Sonata (inspired by Scriabin’s first view of the Baltic Sea), she is no match 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 incandescent sense of Romantic polyphony in the Ninth and Tenth Sonatas remains unique. But if Yeritsyan offers a less vital or compulsive experience and, in the final resort, is less empathetic than Ashkenazy in his complete cycle, there is no questioning the exceptional command of her finely recorded performances. ……….. The centenary of the death of Alexander Scriabin this year has not generated anything like the same flurry of excitement among concert planners and record companies as the anniversaries of Sibelius and Nielsen. But there have still been a number of worthwhile discs released to mark the occasion, especially of the piano works, which despite the scale and grandiosity of his orchestral music, really map out Scriabin’s development as a composer and his purely musical ideas with far more clarity and precision. Though Garrick Ohlsson’s survey of all the Poèmes for Hyperion was a new disc released early this year, some of the most important issues have been re-releases. Sony’s three remastered discs of Vladimir Horowitz’s breathtaking studio and live Scriabin performances, take in four of the sonatas and many shorter pieces. There is also a fascinating historical compilation of Hänssler Profil, in which Vladimir Sofronitsky, who married Scriabin’s daughter and was a Petrograd conservatoire contemporary of Shostakovich, plays all the sonatas except the seventh, with a live account by Sviatoslav Richter included for the missing work. Such performances, not to mention Vladimir Ashkenazy’s outstanding 1980s cycle of the sonatas available on Decca, set formidable benchmarks for any new recording. But to judge from her playing, the French-Armenian Varduhi Yeritsyan does not lack ambition or fear such comparisons. She launches into the incandescent later works in her survey, the Seventh, Eighth, Ninth and 10th Sonatas, with their cascades of notes and proliferating trills, showing her technical fearlessness and her ability to keep a cool head and to find a logical way through the most hyperactive keyboard writing. The sets lays out the 10 sonatas thoughtfully, with the first, entitled “White Mass”, beginning 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 slightly more convincing in the later-single-movement works, with their radical compressions of musical form that hardly seem able to contain the white-hot invention, than she is in the more traditional low?numbered sonatas, in which Scriabin was gradually discarding all vestiges of his early Chopinesque style, and which she seems to find harder to characterise so vividly. Sometimes there are more colours to be conjured out of the keyboard writing 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 earn a mention in the same sentence as his shows just how worthwhile they are. Related Torrents
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