Informationen zu "Alexander Nikolayevich Scriabin (Skryabin) Transcribed: Mats Lidström Two Poems Op.32 arranged for Cello and Piano Cello & Piano"
Verlag: CelloLid.com
Verlagsnummer: CL125
EAN: 9790708113256
ISMN: M-708113-25-6
Beschreibung
I wanted to ?nd a word that illustrates Scriabin. I looked up 'singular' on
Thesaurus and found many relating words: unparalleled, unprecedented,
exceptional, avant-garde and eccentric. Loner came up, too. Mystique
surrounds his name. His artistry is measured by integrity, imagination and by
a search and wish to make music a necessary part of a great philosophy which
links all thought, creativity and beauty together, and which would eventually
see the birth of a new world. Leo Tolstoy describes him as 'a sincere
expression of genius'. Scriabin's early works belong to Chopin's and
Tchaikovsky's 19th century, and with the ?fth piano sonata from 1907 he is
looking across the 20th. But he lived to be 43, and while his European
counter-part Arnold Schönberg would explore new harmonic systems and
composition techniques for another forty years, Scriabin's experimentation
with theosophy, mysticism, symbolism, synesthesia, fragrances and colour
codes were left un?nished. I toy with the idea - often - how music, and
perhaps musicians, would have developed had Scriabin lived longer and if
someone like Charles Ives had continued writing. Their music would have
created an aggressive, at the same time healthy, challenge to the 12-tone
technique. The poems op.32 were written in 1903. The ?rst poem remained one
of Scriabin's favourite compositions and would appear in most of his piano
recitals. The great cellist Gregor Piatigorsky transcribed it for cello and
piano a couple of decades later. I owned a copy of the music from age 15 or
so, but when I eventually decided to learn it, I was vexed by the changes
Piatigorsky had made to the original score.These include the simpli?cation of
rhythms, dynamics and anything eccentric and typical of Scriabin. During the
process of making my own version, I soon realised that the middle section did
not bene?t from being broken up into separate lines. While the piano part
remains untouched, I have borrowed material from the second poem to ?ll what
might otherwise feel like gaps in the cello part (this version can be heard
together with pianist Bengt Forsberg on the CD called Smörgåsbord for the
Hyperion label). Interestingly, the story around the tempestuous second poem
had originally been conceived as an aria for a planned opera. As with Brahms
and the opening of the E minor sonata op.38, Scriabin uses the word legato
rather than indicating this with slurs (see piano part). I just thought of
another illustrating word: fascinating. MatsLondon, August 2016.
