Search - Alexander Scriabin, Vladimir Sofronitsky :: Scriabin chez Scriabin

Sofronitsky's 1960 live recital on Arbiter

Stephen D. Haufe | Clinton, Iowa | 12/30/2008

(5 out of 5 stars)

"This is not only wonderful Scriabin playing; Sofronitsky here exhibits pianism of the highest order.Stunning ; and an extraordinary sound world.Even if Scriabin's music puts you off , here is a recital not to be missed, IMHO, for the pianism alone.



I do have another studio Sofronitsky cd , of Chopin and Scriabin; on this live Arbiter he is seemingly a different pianist.The liner notes reference Cortot's and Medtner's influences, which are suggested by playing here of color,structure, and inspiration,also in Sofronitsky's case transcendent technique coupled with a natural ease of voicing and manner.Per Igor Nikonovich (briefly a son-in-law): "Truly great art--which is to say: scorching,boiling lava,through seven layers of armor plating." (Liner notes.)



"One always finds in his playing the mark of something unusual, at times almost supernatural, mysterious and inexplicable,masterfully drawing one toward itself." Heinrich Neuhaus (liner notes).



This live programme was played and recorded straight-thru on Jan.6,1960 , with no pauses, even for applause, just as Sofronitsky planned and performed it,only the 8th Sonata escaping taping that particular evening,replaced by Arbiter with another live 1960 8th from later in the year.



Track listing:





Sonata No. 8, Op. 66 ( Dec.24,1960)



Preludes Opp. 22/1, 11/12, 11/13, 37/1, 31/1;

Poèmes, Opp. 41, 61, 69/1&2;

Two Dances Op. 73;

Preludes, Op. 74/3-5;

Poèmes, Opp. 52/1, 44/2, 59/1, 51/3, 52/3; Poèmes, Op. 71

Masque, Op. 63/1; Vers la flamme, Op. 72; Fragilité, Op. 51/1;

Preludes, Op. 11/2,4,6,19;

Feuillet d'album, Op. 45/1;

Poème in F#, Op. 32/1;

Enigme, Op. 52/2;

Mazurka, Op. 40/2 in F#

(All the rest above Jan.6,1960.)



While no doubt the programme was carefully constructed, I claim no insights as to its logic.Perhaps connections of key,rhythm, mood,contrast.An opening with the 8th Sonata, and a close with the Op.40 Mazurka , with a somewhat early-late-early progression in the interim,and mainly miniatures, may be Sofronitsky's suggestion elements of past and future are always present in all Scriabin's music, and of all elements, economy and concentration of expression most important (?).If Horowitz and/or Richter or others can be said to emphasize the dark, or suggest malevolent,aspects in Scriabin's creation, Sofronitsky here accentuates the magic and mystery.



Another Sofronitsky lesson seems to be that as "unique" as Scriabin surely was in the later compositions, Scriabin was still a master in control. For example, compare the Op.72 "Vers la Flamme" here with the Op.73 "Dances" and selected Op.74 Etudes, as well as the many late " Poems" featured.



The 8th Sonata here is freer, more colorful, more expansive than my London Decca greyer, more one-dimensional, reading by Ashkenazy, so much so I had to immediately play the Ashkenazy to be sure the same piece. While the frenetic "Vers la Flamme" of Horowitz ( on Columbia in 1969) , and acerbic reading by Lewenthal in the 50's ( the first lp "Flamme" ) have much to commend them, Sofronitsky's reading,to my ears, has more depth,detail, and balance than the other gentlemen propose.



Piano sound is a bit tinny and reverberant , whether the aged piano of Scriabin on which Sofronitsky played here, the amateur (?) tape recording, or piano tuner,or all the above, but a minor inconvenience, not unexpected with an historical recording, and detracting very little from the recorded realization of the expressed artistry . Extensive liner notes and bio of Sofronitsky are very interesting.



Per the liner notes,Sofronitsky was in Leningrad for part of the Siege in 1941-42, playing concerts at the Pushkin Theatre there. " I played in gloves with the finger tips cut out. But how they listened and how I played.What treasured memories those were.When it became clear to me why I must play, I felt it was absolutely necessary for me to play.Many of the pieces which I had previously loved began to seem very small.Something greater was required, music of heroic feeling, a call to fight.It was perhaps only in these days that I fully understood and perceived the greatness of Beethoven's ' Appassionata', or the mighty invocatory power of the Third Sonata of Scriabin." ( From the liner notes, copyright 2008,Allan Evans)



Great indeed is the playing on this cd, a "musicality free from the tension underlying his studio,radio, and concert hall recordings" , a recital displaying a "profound continuity and enlightened sense of narrative."(Liner notes quotes.)



At the applause after the final track, I could only sit in wonder.



Highly reccomended."

Moving and incomparable performances of Scriabin composition

Benjamin D. Miller | Atlantis, Bottom of Sea | 02/05/2010

(5 out of 5 stars)

"If you love piano music period, I highly doubt that you will be disappointed with Sofronitsky's performance, though I know this is a bit presumptuous. As for the sound quality, there is this white noise that is in the background but that can be forgotten when the music puts you in a trance. I'll offer my explanation as to the 'tinny' sound of the piano. Much more of an issue than the age of the piano would have been the potential age of the strings if unchanged. It may seem ridiculous to think that they would not change the strings for this performance, but this was Scriabin's piano, and no real tuner would have done such a poor job. I mean, the tuning is way off. If you haven't been, go to Washington's house on the Potomac and you'll see what I mean about the strings: the walls are full of scuffs and the place is somewhat raggedy. They want it to be original. And remember, 1915 to 1960 was not all that long. When the strings get too bad, you have to replace them or good tuning isn't possible. I live out in the middle of nowhere and the local piano tuner would hang himself before leaving a piano sounding like that. THE MYSTERY: FOR ALL OF ITS TECHNICAL FLAWS, THIS CD HAS AN UNMISTAKABLE MAGIC, AND ONE THAT I WOULD NOT PASS UP SIMPLY AS A FAN OF PIANO MUSIC. THIS IS AN EXTREMELY MOVING PERFORMANCE. I THINK THE OTHER REVIEWER HIT THE NAIL ON THE HEAD: HERE, SOFRONITSKY FINDS THE MAGIC OF SCRIABIN'S SHORT PIANO COMP'S."