Customer Reviews

Scriabin: The Complete Piano Sonatas

5 star:		(10)
4 star:		(6)
3 star:		(2)
2 star:		(0)
1 star:		(0)

 

 

Previous reviewers have pointed out that Hamelin plays these pieces somewhat conservatively. Far from being the weakness I think this is the greatest strenth of this set. What Hamelin does is to render the sound and structure very clearly and openly. I think this does the sonatas far more justice than playing them as if they were the whims of a madman. All the sonatas are very tightly (and classically) structured, Scriabin was innovative and iconoclastic harmonically, but the sonatas adhere closely to traditional sonata form.

The trouble with performers like Szidon or Horowitz is the sheer ego of their performances. In Horowitz's case, this exhibits itself as a messy exuberance that often results in bizarre distortions that simply draw attention to the fact you are listing to VLADIMIR HOROWITZ - PIANO GENIUS. Which doesn't help to gain a greater understanding of Scriabin's music.

Szidon's problem is a little more serious, he simply doesn't have the technique to cope with these demanding pieces. He blurs great portions and his rhythms are slapdash and self-conscious. It really is Scriabin playing at its worst - cultivating a erroneous mythology about Scriabin that he was some kind of wacky mystic, whose music you don't really need to perform carefully because it exists in its own little world and the rules of musicianship dont apply.

Marc-Andre Hamelin, who has publically said that he wont perform or record pieces about which he feels he has nothing new to say, does Scriabin the greatest service. By taking him seriously as a musician and playing his works with an accuracy and clarity woefully lacking in most Scriabin interpretations.

As a result of this approach, Hamelin reveals in a much more profound way the mystery and wonder of Scriabin's later sonatas. With miraculous pedalling and touch, he creates extraordinary sounds, rich in colour and drama. He evokes like no other pianist Scriabin's singular ability to create music not of this earth

By now, most listeners are aware that MAH possesses one of the most titanic techniques ever discovered in the history of piano playing, and that his poise and sense of direction in the music he graces are second to none. In order to properly evaluate the productions of such a master, one must ask: does he bring something new to this music?
For this set of the complete Scriabin Sonatas (with the mid-early Fantasy and childhood Sonata-Fantasy thrown in as a bonus), I must most certainly answer with an enthusiastic "Yes".
As in most Scriabin, the piano sonatas have an astoundingly wide range of personality, approachability, and interpretability. This range singles out absolute "bests" (though the name Sofronitsky instinctively echoes through my head as I type this), and leaves room for new pianists to discover new and exciting ideas.
Mr. Hamelin is definitely at his best in Sonatas Nos. 1, 4, 5, 8, and 10. Hamelin's style is dictative in the first three sonatas (partially due to the writing). He leads the listener through the impetuous first with daring and an audible commitment to Scriabin's expressive markings and details. Unfortunately, the elegance with which he plays the second and third sonatas make them sound tame, although he does reach a fiery climax in the final movement of the latter. For these sonatas, I recommend Ruth Laredo (2) and Sofronitsky (3). Hamelin shines in the fourth, with his depth of color and sound control transforming the first movement into a still, starry night. He is the only pianist I have heard to play the second movement "prestissimo volando" (through Gavrilov comes close, albeit by transforming the flight of ecstasy into a decisive, etude-like operation), and his coda is the most exciting I have yet heard. For an interesting comparison, listen to Ashkenazy's and Hamelin's cuts side-by-side. I am more compelled by Ashkenazy's pacing (though not by his tempo), but his tone often becomes steely and harsh. The Fantasy, found just before the fourth sonata on the first disc, is towering and grandiose. Hamelin's playing in the climactic expansion of the second theme is not to be overlooked.
The direction of the recording changes drastically on the second disc. Where Hamelin once shined his colorful and illuminating creativity upon the vestiges of Chopin's reborn legacy, he now guides the listener through mazes of ethereal majesty. In the Fifth Sonata, Hamelin holds together two vastly differing tempi (the presto first theme is nearly twice the tempo of the langouristic second) through the use of his varied tonal palette. When compared with Laredo and Horowitz, his sonata is more continuous. His range of dyanamics outdoes the Nonesuch artist's (partially due to the placid quality of Laredo's recorded sound), and carries more weight in the ecstatic coda (due to his control of expansion and tension) than the Ukrainian master's. For enthusiasts of the fifth, I also suggest Jiracek, the rising German-Czechoslovakian pianist's live recording from the Busoni Competition. The massive, geometric chords and fluttering fourth runs of the eighth conjure images of a wind-swept, crystalline ice-cavern. This mysteriously neglected sonata is often a chore to listen through (it is the longest of the sonatas) in other recordings, but Hamelin's attention to it is such that I find it the most memorable track from the set. Trills and insects are aplenty in the tenth sonata, Scriabin's "kisses of the sun" shining in a haze of intermingling sound and color. The two "masses" have received more exciting interpretations; Ashkenazy's tone drills the white, purgatory fire of the seventh sonata deep, and the dark murmurings of the ninth explode more violently with both Sofronitsky and Horowitz.
Any Scriabin, piano, or music enthusiast should be pleased with this set, as the life Hamelin's transcendental command instills in these influential works is second to none. Those who greatly enjoy this album should listen to Hamelin's recordings of the Roslavets and Godowsky sonatas, both available on Hyperion, as well as his earlier reading of Sorabji's first sonata, available on Altarus Records.
-Kris

Although a substantial portion of you are probably considering not reading this review, because I only gave it 3 stars, please do read on, because I would hope that my experiences could help you.

Hamelin is certainly an exceptional technician, he dispatces the sonatas with seeming ease, swallowing up the most difficult sections. However Scriabin's music is not such that it comes alive by playing the right notes with a strict tempo. Hamelin's playing is very conservative, and while this may work for some repetoire, certainly it doesn't work for Scriabin. The playing lacks fantasy and freedom.

To bring the music fully alive, and to show the musics full potential the performer must invest a mass of drama and feeling into the music. That is why I would not recommend this set.

It is well played technically, but not emotionally - he does not have the style to play this music well. He is no Scriabinist.

The set of complete sonatas I would most suggest is Roberto Szidon. Unfortunately this set is no longer available (keep an eye out for it in 2nd hand stores - both on CD and LP - it IS worth it!) - maybe even complain to DG to get them to re-release it.

In absence of this set, I would suggest first beginning with Vladimir Sofronitsky - Great Pianists of the 20th C on Phillips. This set includes 4 of the sonatas, in unsurpassed playing (andante from 2, 3, 4 & 9. Other discs are also available of Sofronitsky playing the other sonatas). The other complete set that is quite good is John Ogdon's set (though ingnore his playing of the smaller miniatures).

The following are some suggestions for the Sonatas:
1. Szidon or Ogdon
2. Sofronitsky, Nikolai Demidenko or Szidon
3. Sofronitsky, Szidon, Gilels
4. Sofronitsky, Gavrilov
5. Szidon, Horowitz
6. Szidon, Sofronitsky
7. Szidon
8. Sofronitsky, Szidon
9. Sofronitsky, some of the Horowitz performances
10. Pletnev

Even if you do purchase this set I would recommend purchasing some discs played by sofronitsky, horowitz and if you can Szidon, to see what a real expert can do with this music.

Especially try to get VVCD 97014, Sofronitsky plays Scriabin, it is perhaps the best Scriabin CD availble - it has preludes, poems, etudes and sonata 4.

I think you'll discover in the end that you just won't listen to Hamelin's set.

It is truly a daring attempt to record the complete sonatas of this "pianist-gone-crazy" composer. Hamelin, more than anybody, captures the essence of Scriabin's piano style and translates it into a glorious spectrum of sound that illuminates the ear and the mind of the listener. His sense of architechture and multi-voiced texture is impeccable and his formidable technical ability is way above that which is required to play these sonatas. His playing is distinguished by a colorful sound that is clear and brilliant throughout a wide dynamic range. I recommend this set to anyone who appreciates Scriabin since it will be a while until someone comes up with an interpretation comparable to Hamelin's.

To hear the full range of these sonatas from start to finish is a disturbing experience, like seeing a brilliant and complex mind gradually unravel; or is it we who unravel, as Scriabin leaves us further and further behind? In any case, such difficult music must be accessible to only a few performers, and Hamelin's recording is nothing short of astounding. Where did he get that technique? I have been listening to this set for over a year now; it is one of the best CDs in my collection.

While many famous pianists have recorded Scriabin to great acclaim, Canadian pianist Marc-Andre Hamelin has absolutely no rivals in the Sonatas. After listening to this recording, Ashkenazy, Laredo, Ogdon, Sofronitsky, and even Horowitz can seem like amateurs. In the exoticly beautiful fourth Sonata, Hamelin paints a picture of a faintly shimmering star in the distance. Then, in the second movement, he takes the listener with him on a flight to this star until the jubilant coda when the star is finally reached, its once-soft rays now transformed into fiery pulses. The fifth Sonata is played brilliantly, the rich flourishes of the introduction and the dangerous leaps of the Presto section executed superbly. In the later Sonatas, Scriabin takes piano technique to the highest imaginable level, and Hamelin almost laughs at the challange. Just listen to the way he tackles the tricky fourth runs in the lesser-played eighth Sonata or the bone-chilling climax of the "Black Mass" Sonata. Every tonal nuance and rubato is Hamelin's playing is well thought out and suitable to Scriabin's music; one wonders if the music was ever meant to be played in any other way. I urge you to purchase this CD and enter the demonic/angelic, lustful/pure world of Scriabin. Hamelin is the perfect tour guide for this supernatural realm.

Hamelin's piano technique and quality of pianism is absolutely unbelievable. Just watch the japanese documentary "supervirtuoso" - you wont believe this guy's mastery of the instrument. In a "greatest technique" argument with people claiming for Pollini, Horowitz, Volodos or whatever, just pull out a Hamelin recording - and the argument is over. Also his choice of interesting rarely-played composers is admirable.

In my opinion though, the Scriabin performances are not in the league of the Russian school recordings. Scriabin's complex music takes a musician of genius to play, and paranormal technique is not enough here. Hamelin of course is a great musician, but this recording is only good as an intruduction or for novice- Scriabinites. If you want to hear serious Scriabin listen to Sofronitsky (3,4,5,8,9), Horowitz (3!,9,10), Sokolov (3!,9!!!) and also Zhukov has a great recording of #9.

Hamelin is has superb technical skills, but he doesn't play most of Scriabin's music better than the best Scriabin interpreters I've heard. Sofronitsky. Horowitz. Taub. Glemser. Ashkenazy. Laredo. Richter. Some of the problems are: the anticlimactically slow tempo at the end of the 7th sonata, the 1st movement of the 1st sonata is played too quickly, and most of the pieces just aren't played with any fire. As another reviewer mentioned, the 9th sonata is particularly bland. Only the 5th sonata and the G# minor posthumous sonata are exceptional. (I say the G# minor is exceptional because the other performances I've heard aren't very good.) The sixth is played with unusual precision and atheleticism, but where's the mystery?

Here's a breakdown for my suggested recordings of the sonatas, based on those I've heard:

G#m posthumous: Hamelin.

Ebm posthumous: Glemser.

No. 1: Kocyan, then Ashkenazy, then Taub. Kocyan tells a story. Ashkenazy is passionate. Taub is darker.

No. 2: Kocyan, then Glemser or Sofronitsky, then Ashkenazy. Kocyan's fluidity takes it, but Sofronitsky is artistic. Glemser's first movement is beautiful.

No. 3: Laredo or Horowitz. Then Glemser or Taub. Then Ashkenazy or Sofronitsky.

No. 4: Taub or Sofronitsky. The latter has more artistry, the former a more coherent and appropriate tone.

No. 5: Horowitz or Taub. The former has electric genius, the latter has wonderful refinement. Hamelin's is excellent (definitely his best Scriabin performance). I've heard that Richter's is great, but I don't have it.

No. 6: Richter (genius but bad sound quality), then Taub. Hamelin's is excellent and lacking simultaneously.

No. 7: Glemser, then Laredo. The former brings out all the complexity with precision, the latter is sharp and clear. I have not heard Richter's.

No. 8: Ashkenazy. Then Szidon or Laredo. I've read that Sofronitsky's is good, but I don't have it.

No. 9: Sofronitsky, then Horowitz (all versions), then Glemser, then Szidon and Taub.

No. 10: Horowitz or Taub. Same contrast of styles between the pianists as the fifth sonata. Like the fifth, this is Taub's other brilliant performance.

Other pieces:

Fantasy in B minor: Glemser
Vers la flamme: Sofronitsky or Horowitz, then Laredo.
Piano concerto: Ugorski/Boulez, then Ashkenazy/Maazel. Both are excellent, but I give the edge to Ugorski.
Poem of Ecstasy: Maazel
Prometheus: Ashkenazy/Maazel

There is a view that the more neurotic one plays Scriabin the more authentic it is. I disagree. I don't think Scriabin was nuts. I think he was visionary but not crazy. Hamelin plays him classically. Even in the later sonatas one does not sense that the music is out of control, nor the player. Frankly, I like this approach better than that of Horowitz, say. The music itself, of course, is mesmerizing.

I have read review after review raving about the pianism of Marc-Andre Hamelin. Many people have pointed out his gargantuan piano technique, and I had never listened to his playing until I purchased this Scriabin piano sonata set. After listening to all the pieces, I was impressed. His pianistic abilities are as good as advertised.

The First Sonata is one of my favorite Scriabin sonatas (along with the Sixth and Fourth). Hamelin plays the opening with as much power and gusto as anybody else. However, he rushes the Tristanesque section in E-flat major terribly! It detracts from the amazing harmonies and does the music a disservice. The other movments are bit rushed, too, but the first movement shows it the most.

Hamelin's renditions of the Second and Third Sonatas are as good as those by Ashkenazy and Szidon. He plays them more sensibly, and his tempi are flexible. Hamelin's technique enhances them, and I do not receive the sense that he is in a hurry here.

The Fourth Sonata, like the first, is very disappointing. The opening, again, is very hushed and mysterious. The second movement tends to rush, and the final climax in the coda is underplayed. Ashkenazy and Szidon (especially) do the powerful ending much more justice. Szidon uses his power and passion to summarize the two main musical ideas presented, and the effect is overwhelming!!

The Fifth and Sixth Sonatas are masterfully presented under Hamelin's fingers and musical mind. The Fifth shows much more contrast than the Fourth, and Hamelin's unparalleled technique shine in this most mobile Scriabin sonata.

My favorite Scriabin sonata, the Sixth, is a bit disappointing, but it fares better than the Fourth. Some of the runs are a bit detached and choppy for my taste. The "surge of terror" is frightening, but Szidon is even more in tune with Scriabin's fiendish nightmare here.

The Seventh Sonata has lots of loud pounding and grinding dissonances. It represents one of Hamelin's better performances on this set.

The Eighth Sonata is given a very distinctive reading by Hamelin. His technique brings out more of the texture of the strange rolled chords, and he plays faster than other performers I have listened to.

The Ninth Sonata, "Black Mass," shows a change in musical direction for Scriabin. The textures are much more sparse and etiolated. Hamelin does a fine job depicting the barrenness.

Hamelin plays the Tenth Sonata very well, bringing out the many trills and delineating the textures like no one else. I find that Hamelin seems more comfortable and capable playing late Scriabin.

The "Fantaisie," Op. 28, is well-played. Hamelin plays with more emotion than the later works, reflecting the more romantic association of earlier works and the more distant, withdrawn, inward-focus of Sonatas 6-10. Hamelin avoids idiosyncratic tempi in the "Fantaisie," and it the equal of Szidon's account (I obviously use Roberto Szidon's three-CD set on Deutsch Grammophon as the gold standard for Scriabin piano sonata recordings!).

Overall, I like this set and the performances of Hamelin. I have already noted the idiosyncratic tempi in some of the sonatas and the tendency to chop up some of the articulations, but Hamelin brings his amazing technique to the piano and delivers some very interesting performances. This set is expensive, and I bought it on Amazon from a third-party seller. I recommend that you search out Roberto Szidon's Scriabin cycle. It costs much less, and you get to listen to better overall perfomances.