Customer Reviews

Scriabin: Preparation for the Final Mystery

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I was lucky enough to see the US premiere of the second part of Universe (Mankind) with Ashkenazy and the San Francisco Chorus/Orchestra in February, 1999, so I eagerly awaited this premiere recording of the complete Nemtin reconstructed Prefatory Act to Mysterium. This recording definitely lives up to my expectations with all the clarity and precision of most Ashkenazy/Decca recordings have. The gigantic symphonic forces perform very well and Askenazy believes in his performances and the work they are playing.

Regarding the music, be forewarned, late Scriabin is very complex and this is the latest of his music. If you like late Mahler (such as his 9th/10th Symphonies) Schoernberg's orchestral works, or Scriabin's own Prometheus - Poem of Fire, imagine it of greater durations (oh...about three hours) and complexity. The work is scored for large orchestra, organ, wordless chorus, soprano, and virtuoso piano. The music alternates between atmospheric quite interludes to dramatic quadruple forte outbursts by full orchestra and organ. What might make this difficult for those unaccustomed to Prometheus to like is how quickly and unrelated the transitions between the dynamic levels might seem. The music is much more organic than melodic and has no discernable form or true melody per se - it sounds more like thoughts, sketches, or hallucinating impressions than a more traditional classical work.

The prefatory act is in three sections and is the preparation of an unrealized mammoth weeklong work elaborate composition. The music of Mysterium for part 1 sounds much like Scriabin's Prometheus, Poem of Fire. It is complex, alternating loud and quite, and features a wordless chorus for about 10% of its full duration while in contrast, the piano plays a very important ornamental role. Part 2 - Mankind is the most apocalyptic section sounding halfway between Ravel's Daphne and Chloe (especially in both work's finale) and Stravinsky's Rite of Spring. The third part - Transfiguration begins ominously but evolves to a climax.

Although Preparation for The Final Mystery is a realization by A. Nemtin of an unfinished grand vision by Scriabin, it really does sound convincing as a late work by Scriabin might have sounded. This CD set also includes a ballet Alexander Nemtin wrote after based on piano pieces by Scriabin. Personally, I loved "Nuances" and found it vividly orchestrated and reminding me of late Debussy with authentic Scriabin thrown into the mix - detailed, complicated, and colorful.

Overall, if you don't mind complex organic music and have the patience to listen to the entire work before judging it, I strongly recommend it - the recording and performance is absolutely wonderful. If you like it, you clearly have an ear for megalomania and should try out Havergal Brian's Gothic Symphony written around the same period and having the same all encompassing grand vision.

Alexander Scriabin's (1872-1915) compositorial megalomania, nurtured by the Theosophical atmosphere in which he took care to live, ended up by outstripping his creative capacity; the last years of his life centered on the conception rather than the execution of a vast work called "Mysterium," for which its conceptor held out great expectations. Among other things, he thought that when it at last reached performance - in a special theater-cum-temple to be built in the Himalayas - all the hundreds of participants in it, and maybe the totality of mankind by a kind of sympathetic vibration with the performers, would be transformed into the Superman, thus initiating the new phase of spiritual evolution. (Oh, is that all?) Of course, "Mysterium" could exist only as a fanciful notion in Scriabin's rather fevered imagination. Already, in "The Poem of Ecstasy" (1908) and "Prometheus" (1915), he had pushed his peculiar, floating harmonic language, based on chords of the fourth, to its expressive limit; "Prometheus" was furthermore a briefer work than "The Poem of Ecstasy," just as the "Poem of Ecstasy" was briefer than its precursor, "The Divine Poem" (1903). As his ambition waxed, his perseverence waned. Nevertheless, a disorganization of sketches for "Mysterium" did survive Scriabin, and became the compelling idée fixe of the Soviet composer Alexander Nemtin (1936-1999), who devoted his life to "completing" the Master's transcendental project. The first fruits of Nemtin's posthumus collaboration with Scriabin appeared in the early 1970s as "Universe," on an Angel-Melodiya LP (later a Russian Disc CD), full of blazing trumpets and a wailing wordless chorus. Now the entire "restoration" of Scriabin's unwritten work at last manifests itself on no less than three Decca CDs, with Berlin forces led by Vladimir Ashkenazy. Not quite "Mysterium" (that necessarily indefinitely deferred musical chimera) but rather a "Preparation for the Final Mystery," this gigantic two-and-a-half hour work comprises three parts ("Universe," "Mankind," and "Transfiguration"), each further subdivided. Anyone who remembers the stand-alone "Universe" of thirty years ago (my college friends and I used to listen to it late at night on weekends while charging the air with smoke) already knows the character and measure of the new triptych. Is it a dinosaur, a lurching grotesque? It might well be. More than one critic has accused Scriabin of egomania and autoeroticism - not to mention messianism. But the music, as we have it, is also wild and magnificent, a tour-de-force of high-grade pastiche delivering no little reward of ecstasy provided one has the stamina to pass through the 160-minute initiation of it. The Soviets used to link Scriabin with the conquest of space, and "Prometheus" played over Moscow television when the cameras showed Yuri Gagarin riding his Vostok capsule into orbit. One gets the feeling that Ashkenazy and his players are rocketing into orbit too, and then floating there in weightlessness while looking out at the nebulae through black space. Maybe you need to have come of age around 1970, or have read a good deal of Olaf Stapledon ("Star Maker"), to appreciate this. If that describes you, buy this set. Like everything else sublime, it will vanish quickly, no doubt.

I waited a number of months before investing in this 190 minute Scriabinfest, but I have to say I should've jumped up and bought it right away. Why? A number of reasons. First, Nemtin's job in "realizing" the nearly unrealizable fantasy of Scriabin's later years deserves credit (and a good listen) for the sheer work it must have involved: the liner notes tell us that Nemtin virtually sacrificed his own career as a composer to finish this, the most grandiose of the Master's late works, from the measly 53 pages of sketches left behind. In fact, Nemtin worked from 1971 until 1996 on this labor of love, and I have to say the results are quite overwhelming. Any lover of Scriabin will recognize the pillow-deep climaxes, the gorgeous cantabiles, the slow-motion eroticism of his later works, but with an added touch. And this added touch is the second reason to buy this recording-the work puts into perspective just where Scriabin belongs in the continuum of 20th century music. When I listened to the second and third parts of this "Prefatory Action," (the first section, "Universe," is not filled with quite the musical incident that the latter two sections have) I could hear just how far "late Scriabin" goes toward the musical language of composers who wrote long after he died in 1915. It seems as though the fleshing out of the claustrophobic atmosphere of the later pieces has resulted in a new sound altogether, a sound created by a more pointillistic approach to orchestration and a closer attention to the sounds created by the notes in collision (or by themselves, as in the massive F-sharp peroration at the end of "Transfiguration") and the quality of the notes themselves. In this sense, parts of this three-part Introduction to the Mysterium remind me of Webern, and even of Penderecki in some spots. Too, Scriabin/Nemtin's wild veering from brassy proclamations to intimate secret-telling and their sounding, at one point, of every note in the chromatic scale at once reminded me of Messiaen (cf. his Turangalila Symphonie) and of Ligeti (Atmospheres, used so memorably in Kubrick's 2001) respectively. Of course, as with some Scriabin (or any work of such vast proportions, for that matter) there are longeurs, but these are few and one's interest is generally held by the kaleidoscope of rich textures that Scriabin presents. The other work included, Nemtin's orchestrations of Scriabin's later piano works arranged into a meaningfully balletic sequence, is lovely, as well. And what about the recording itself? Well, it can handle both the massed use of the full orchestra, the wordless chorus, the soprano soloist, a piano and an organ, and still reproduce with stunning clarity the finest-spun thread of melody that Scriabin/Nemtin can weave. Of course, as with many recording done at this venue (the Jesus-Christus-Kirche in Berlin-Dahlem), the soundfield is set back a tad, but this isn't anything that a judicious fiddle with the volume knob can't control. All said, this venture is a must for all Scriabinites, but I would also recommend it to anyone interested in the music of the late-Romantic era and to anyone with a weakness for the solipsistic, the erotic, and the mystical. Get the set and revel in the experience!

Facts: Is this a Scriabin composition? No. Is it close to any other Scriabin composition? No, though his spirit seems to soar through it. Would he have written it like this? Impossible to give an objective answer but in my view, no.
Then why buy this? Because it's probably the most intense musical experience you'll have for a long time coming.
Alexander Nemtin used the 52 unnumbered pages of sketches as Scriabin left them on the table of his study when he died in 1915. Scriabin didn't write chronologically: when an idea came to his mind, he'd write it down immediately. So even a mere chronological reconstruction would seem a difficult task. Instead Nemtin chose to 'compose' a performable version of the sketches, a project that grew and grew into the massive work we have before us. That it owes more to Messiaen than to Scriabin is a minor element: you cannot omit cultural developments and you cannot confine yourself to pastiche or epigonism. Nemtin seems to have been posessed with Scriabins' holy fire and gave us (t)his work. An important fact we need to consider is the context to which Scriabin/Nemtin wrote this: it was to be the music performed to the Apocalypse (bare with me for a minute, please), with all the peoples of the world as its performers. Huge bells hanging out of zeppelins would call upon humanity to enter a new age of spiritual enlightenment (with Scriabin as the supreme being). If this sounds a wee bit overambitious, then consider the fact that Nemtin pulled it off musically. Much in the same (opposite) way Messiaen did with his Quatuor written in a Silesian war prisonner camp.
Facts (bis): Is it any good? Yes, even better than that. Should I buy it? If you trust my opinion, yes. Why? Because you will feel the genuine honesty in this music. You will understand where and why Scriabin wanted to take us and you will be showered with miraculous sunlight. A must-have!

This massive work is the most emotionally shattering work I beieve I have ever heard. The Second "Mankind" is as dark a picture of the human race I have ever heard. Even though this work is over 150 minutes there is a definite cohesion throughout all three movements. The amazing thing is that all three movements also are stand alone in their approach. This work is simply shattering. More then one hearing will definitely be needed to get the sense of balance and cohesion in this stunning Work.

I was lucky enough to see the US premiere of the second part of Universe (Mankind) with Ashkenazy and the San Francisco Chorus/Orchestra in February, 1999, so I eagerly awaited this premiere recording of the complete Nemtin reconstructed Prefatory Act to Mysterium. This recording definitely lives up to my expectations with all the clarity and precision of most Ashkenazy/Decca recordings have. The gigantic symphonic forces perform very well in this demanding, lavishly rich score and Askenazy believes in both his performers and the work they are playing.

Regarding the music, be forewarned, late Scriabin is very complex and this is the latest of his music. If you like late Mahler (such as his 9th/10th Symphonies) Schoernberg's orchestral works, or Scriabin's own Prometheus - Poem of Fire, imagine it of greater durations (oh...about three hours) and all played simultaneously. The work is scored for large orchestra, organ, wordless chorus, soprano, and virtuoso piano. The music alternates between atmospheric quite interludes to dramatic quadruple forte outbursts by full orchestra and organ. What might make this difficult for those unaccustomed to Prometheus to like is how quickly and unrelated the transitions between the dynamic levels might seem. The music is much more organic than melodic and has no discernable structural form or true melody per se - it sounds more like thoughts, sketches, or hallucinating impressions than a traditionally segmented classical work.

The prefatory act is in three sections and is the preparation of an unrealized mammoth weeklong elaborate composition. The music of Mysterium for part 1 sounds much like Scriabin's Prometheus, Poem of Fire. It is complex, alternating loud and quite, and features a wordless chorus for about 10% of its full duration while in contrast the piano plays a very important ornamental role. Part 2 - Mankind is the most apocalyptic section sounding halfway between Ravel's Daphne and Chloe (especially in both works' finales) and Stravinsky's Rite of Spring. The third part - Transfiguration begins ominously but evolves to a great climax.

Although Preparation for The Final Mystery is a realization by A. Nemtin of an unfinished grand vision by Scriabin, it really does sound convincing as a late work by Scriabin might have sounded. This CD set also includes a ballet Alexander Nemtin wrote after piano pieces by Scriabin. Personally, I loved "Nuances" and found it vividly orchestrated and reminding me of late Debussy with authentic Scriabin thrown into the mix - detailed, complicated, and colorful.

Overall, I loved it. If you don't mind complex organic music and have the patience to listen to the entire work before judging it, I strongly recommend it - the recording and performance is absolutely wonderful. If you like it, you clearly have an ear for megalomania and should try out Havergal Brian's Gothic Symphony written around the same period and having the same all encompassing grand vision.

Several years ago I procured the Scriabin/Nemptin mega opus "Mysterium": The final Preparation, and I simply wanted to write my brief but sincere appreciation of Scriabin's last, uncompleted work. As I am not a musician I cannot analyze in detail the complex technical details of this significant orchestral epic. In the last ten or so years I have come to love Scriabin's works of his "late" period during which he composed his "Prometheus: Poem of fire," as well as many intricate, harmonically rich and sensuous piano works exemplified by such treasures as "Vers la Flamme"; "Poem Nocturne"; "Masques"; plus many others. Some reviewers have expressed their dissapointments regarding "The Final Preparation," stating that it tends to be more the work of Nemptin rather than that of Scriabin. To me the work is quite magisterial and epic in design. The language is complex and reveals Scriabin's penchant for rhe richly dense, chromatic (but not overly chromatic)densities typical of his later creative subtleties. The work is divided in three parts, or sections: "Universe," Mankind," Transiguration." Several reviewers have already commented on this. What I find fascinating is the marvelous orchestration of several piano works in Part 1. The second disc is very dramatic and laced with interrelated musical themes highlighed by choral sections which add to or even augment the atmospheric, almost dream-like nuances which pervade the work as a whole. Perhaps Scriabin was not an impressionist in the strictist sense; yet several passages do evince that subtle, nuanced impressionist/symbolist aesthetic which was the "au courant" musical language of many works composed during the early 20th century. Much of the harmonic language is characterised by modal development, augmented sonorities, and musical ninths. At best the work is pre-modernist and tonal, not bitonal nor hintful of budding serial techniques developed later by Roslavets, Lourie and other later composers. Scriabin,not unlike several contemporary composers, such as Debussy, Bax, Ireland, Lyatoshinsky, Cyril Scott,evinces that musical nuance that I often refer to the neologistic term "sensuosity." Scriabin's influence became noteworthy among several of his surviving Russian (and some non-Russian) contemporaries. I highly recommend this wonderful recording.

This re-construction of Scriabin's Final Mystery is very controvesial, when it comes to how faithful Alexander Nemtin was to Scriabin's own sketches when he orchestrated them and when he added his own bits to extend the work to this gigantic scale.

But whether Scriabin or Nemtin, the work itself is well worth listening for its originality, kaleidoscopic complexity and megalomaniac vision. Performance is very commited and overwhelmingly powerful. You can listen to this as a huge piano concerto, as solo piano part takes main part. Far richer experience than Busoni's uninspired piano concerto.

Please make sure you read about Scriabin's ideas and mythology behind his truely unique approach to this composition.
One question that comes to mind is......how far ahead of his time was/is Scriabin?

This work, recording and release deserves 10 Stars in my opinion.

I viewed this release with great trepidation for it claims to realize part of the work which occupied, indeed obsessed, Scriabin near the end of his foreshortened life. The resources assembled here under Vladimir Ashkenazy are impressive as is the price of this release (many three-disc opera recordings are less). I suppose what stood out the most is that someone had purchased this recording, paid dearly for it, and brought it back to the store, which returned it rather unceremoniously back to the shelf. Fortunately I did not have to buy this recording in order to listen to it and find out that The Preparation, like The Mysterium itself, remain as they were when Scriabin died---unrealized and unattainable pipe dreams.

Nemtin was working from Scriabin's sketches, the most detailed of which are for the first part of the Preparation. If Nemtin had addressed this and left the rest well enough alone, we might have something interesting. Instead what we have is a partial skeleton left by Scriabin which Nemtin has fleshed out; i.e. a well organized jumble of ideas which is at best an unlistenable mess.

Why did this work occupy Nemtin for so long? Because it is a bottomless pit. What we have here is less Scriabin and more Nemtin's own pathology. There are fragments of music which sound like Scriabin, phrases which are lifted directly from the late piano sonatas and a whole lot of general incoherence. It sounds as though Nemtin consulted with the pyschic network or held seances to determine where to go with the music next. The inescapable image of Scriabin spinning in his grave comes to mind. Yes, Scriabin may have been crazy, but not this crazy.

Those seeking some quasi-mystical drug experience in music should imbibe polluting substances and go listen to Pink Floyd's Dark Side of the Moon again.

The two stars are for the performers who do a remarkable job given the source material. (But what was Ashkenazy thinking?)
The other work Nuances, a ballet suite of orchestrated piano works, fares better but fails to save this release. Even this
is of limited interest, for like similarly orchestrated works by Chopin, these pieces suffer by comparison to the originals.

Sorry, but like I should have been paid for listening to this and if Scriabin were alive, he'd sue!