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Scriabin: Le Poème de l'extase/Piano Concerto/Prométhée
 
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Scriabin: Le Poème de l'extase/Piano Concerto/Prométhée [Import]

~ Alexander Scriabin (Composer), Pierre Boulez (Conductor), Chicago Symphony Orchestra (Orchestra), Chicago Symphony Chorus (Orchestra), Anatol Ugorski (Performer)
3.0 out of 5 stars See all reviews (1 customer review)
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Product details

  • Performer: Anatol Ugorski
  • Orchestra: Chicago Symphony Orchestra, Chicago Symphony Chorus
  • Conductor: Pierre Boulez
  • Composer: Alexander Scriabin
  • Audio CD (30 Jan 2002)
  • SPARS Code: DDD
  • Number of Discs: 1
  • Format: Import
  • Label: DG
  • ASIN: B00000JLEP
  • Other Editions: MP3 Download
  • Average Customer Review: 3.0 out of 5 stars See all reviews (1 customer review)
  • Amazon.co.uk Sales Rank: 227,575 in Music (See Bestsellers in Music)

    Popular in this category:

    #66 in  Music > Classical Instrumental > Composers > Q-T > Scriabin

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Extraits
Song TitleArtist Time Price
Listen  1. Le Poème de l'Extase, Op.54Chicago Symphony Orchestra22:01Album Only
Listen  2. Piano Concerto in F sharp minor, Op.20 - 1. AllegroAnatol Ugorski 7:54Album Only
Listen  3. Piano Concerto in F sharp minor, Op.20 - 2. AndanteAnatol Ugorski 8:41Album Only
Listen  4. Piano Concerto in F sharp minor, Op.20 - 3. AllegroAnatol Ugorski10:45Album Only
Listen  5. Promethée - Le Poème du Feu, Op.60Anatol Ugorski22:54Album Only

On this CD:
  1. (Le) Poème de l'extase
    Composed by Alexander Scriabin
    Conducted by Pierre Boulez

  2. Concerto for Piano and Orchestra in F sharp minor
    Composed by Alexander Scriabin
    with Anatol Ugorski
    Conducted by Pierre Boulez

  3. Prometheus, '(Le) poeme du feu'
    Composed by Alexander Scriabin
    Performed by Chicago Symphony Chorus
    with Anatol Ugorski
    Conducted by Pierre Boulez

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3 of 3 people found the following review helpful:
3.0 out of 5 stars Low voltage Scriabin, 1 Oct 2006
By Plaza Marcelino (Caracas Venezuela) - See all my reviews
(TOP 1000 REVIEWER)    (REAL NAME)   
Himself a phenomenal pianist, Scriabin arrived to the same twelve-note scale harbour as his austrian contemporary Schoenberg had but from an altogether different route, as he devised a "system" of "piling up" fourth-interval chords instead of going the Schoenberg way from melody itself. I'm not sure if the one was aware or not of the other's work but Schoenberg had followers that extended his work and methods whereas Scriabin did not and thereby his proposals remained undeveloped further, a sort of dead end. For the listener, Scriabin's works will sound far more "tonal" than the austrian's but if you study the scores closely you'll end up more or less in the same place although with the russian's apportation permeated with a strong emotional element that is generally absent from Schoenberg's techniques (but to which Berg would introduce most effectively a few decades later).

When I came across this CD I was puzzled, for I had the impression that Scriabin's language would prove as alien to Boulez as would be, say, Richard Strauss' (although I'd be quite interested in hearing what he could do with Salome or Elektra, especially with the latter), more so in the case of the early, chopinesque Piano Concerto. And in the end, my impressions were confirmed albeit with an unexpected twist. This is very well recorded and with top playing by Ugorski and the Chicago Orchestra, Scriabin, but in the end a low-voltage Scriabin. Boulez seems more interested in the two later works and sounds more convincing in the "Poem of Fire", than in the rest of the disc's programme, making this most intriguing of Scriabin's works sound even Webern-esque (and indeed one wonders where Scriabin would have arrived to had he lived longer).

For me Boulez is less effective in the piano-less "Poem of Ecstasy", with the Piano Concerto's results somewhere in between. The "Poem of Ecstasy" sounds uninvolved, distant and somewhat "hammered into" that really assimilated. The inner energy the composer welded into the score is rarely present and the powerful climax called for never really conforms to what is written down, an ecstasy that stalled midway so to speak. As I said, the concerto fares better and receives a handsome performance from Ugorski but in the end fails to convince wholly and makes you refer to other versions in your collection, better consubstantiated with its style and atmospehere.

A mixed bag, then, but an useful modern vehicle for three works from a composer that deserves far more diffusion.
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