Scriabin: Symphony No.1, Poem of Ecstasy

On this CD:

1. Symphony No. 1 in E major (with chorus in finale), Op. 26
Composed by Alexander Nikolayevich Skryabin
Performed by Nina Gaponova, Andrei Salynikov
Conducted by Evgeny Svetlanov

2. Piano Sonata No. 5 in F sharp major ("The Poem of Ecstasy"), Op. 53
Composed by Alexander Nikolayevich Skryabin
Performed by Lev Volodin
Conducted by Evgeny Svetlanov

Customer Reviews:

Fantastic Symphony No. 3.......2006-01-07

I have all Scriabin's symphonies, but his third is by far my favorite. It is a work of such grandeur and power. The brass section of the orchestra is truly put to the test and pushed to the limits in this work. The reoccuring theme that is heard at the very beginning of the work is heard all throughout the whole symphony and remains a very prominant force in the work.

I have to say that this symphony is one of my absolute favorities and one of the finest ever written. The final movement is especially amazing, with the final bars culminating in one of the most fantastic codas to anything I have ever experienced in symphonic music.

I highly recommend this recording. If you are unfamiliar to Scriabin, do yourself a favor and get acquainted. You'll find his music and this symphony some of the most moving music you'll ever have the pleasure of hearing.

PARTIAL REDEMPTION.......2005-12-05

If Scriabin is an acquired taste, it's a taste that I acquired very easily. Like certain composers (e.g. Schoenberg) and unlike certain others (e.g. Rachmaninov) whose careers cover the late 19th and early 20th centuries, his idiom changed fairly drastically in the process. In Scriabin's case this change did not amount to a complete abjuration of the late romantic idiom, but well before his untimely death he had ceased to ascribe 'keys' to his works and had also stopped dividing them into separate movements in the traditional way, something Schoenberg always clung to. He took himself quite unbelievably seriously, developing a mission to redeem mankind through art. That sort of thing, like the similar aspirations of Shelley and Coleridge, seems hokum to me, but hokum whose results I happen to enjoy. I also sympathise entirely with his yearning, expressed in connexion with the 3rd symphony, for '...the evolution of the human spirit...torn from an entire past of beliefs and mysteries which it surmounts and overcomes...' Progress in this respect still seems deplorably slow and prone to relapse, and I sense that creative artists have lowered their sights to some extent in terms of what they think they can achieve along these lines.

The title of this set 'Complete Symphonies' seems to me a good one. Of the five main works here the first three bear the name of 'symphony', and the Poeme de l'Extase was conceived under the same title and intended at first to be in four movements, but by now Scriabin's imagination was taking leave of terra firma. When the work appeared in 1907 it was heralded by a 'philosophical programme' in verse, and its title is of course 'Poem'. If it is a symphony in some sense, then so is the final Prometheus - the Poem of Fire. This not only abandons the standard symphonic division into movements but envisages a wordless chorus, an obbligato piano part and even some kind of magic lantern that he wanted to project specified colours into the audience. The first performance of the work, in Moscow in 1911, lacked this colourful feature, a lack rectified at a performance in New York in 1915, the year of Scriabin's death. As for the harmony, it is roughly as radical as that of Delius.

In addition to the symphonies this set provides two earlier works, the piano concerto and a short Reverie. These, and the first symphony, are very traditional in idiom, and none the worse for that I'd say. The second symphony is a little bolder, but the real adult Scriabin first appears in the third symphony which is on the third disc of the set. The recording dates from several years earlier than the other two discs, but it seems to me much more satisfactory. The earlier discs are not badly recorded to be sure, but the sound lacks presence and vividness. The volume level is on the low side, but while turning it up improves matters a little it doesn't solve the basic problem - after a point it is just too loud and the sound is still not what Scriabin quite needs. I compared my vinyl set of the two Poems from Ormandy, and the difference in sound-quality in the Poeme du Feu on disc 1 is startling. There is still a difference when it comes to the Poeme de l'Extase on disc 3, but it is not so great, and it is less attributable to the recording. It points up, I think, some characteristics of the conductor.

As well as the two Poems, my collection of Scriabin contains quite a fair selection of his solo piano works, played by Horowitz, Richter, Ogdon, Gould - and Ashkenazy. Of these performances I like Ashkenazy's the least by quite a long way, because I have always found too much of his playing to be just a bit ordinary. When it came to listening to him in his latter-day incarnation as a conductor, I admit I underwent the process with some suspicions. These were founded on my previous experience of him as an interpreter even in his prime, but also caused by some scepticism regarding retired soloists finding a new career as conductors. Beecham, Toscanini and Karajan had a mission from the outset to be conductors. They went into the business when young, and they knew not to underestimate what it required. Elderly gentlemen taking the baton up as a sunset career will be treated doubtless with the respect due to their erstwhile eminence, but I wouldn't expect great things from them, nor do I find great things here. The difference from Ormandy shows markedly even in the Poeme de l'Extase. There is simply far more refinement, subtlety and sheer quality in Ormandy's account, and the recording, from sometime in the 70's, is actually better too, even on vinyl. The gap is even greater in Prometheus, affecting in particular the piano part from Peter Jablonski, given a recorded sound that is too discreet by half or more than half. This young player gets a fairer opportunity in the concerto, an attractive early work which he performs with aplomb and distinction. The first two symphonies and the Reverie are attractive too, and having nothing to compare them with I was consequently less critical.

In fact you will get very fair performances of Scriabin in general here, just not 5-star ones. The production is admirable in many ways, with the pieces sequenced with some imagination rather than in strict order of composition. The liner-note takes them in that order, and sensibly so, and it is a very sound and helpful production from Andrew Huth. I have no regrets at all about purchasing this interesting set, and I have given honesty and balance my best shot in the foregoing opinions.

Great overall.......2005-08-29

The Sym #3 in this set is awesome. The sound quality is excellent and the performance brings out so many details in this huge over-the-top work.

The other syms are well done too, but #3 is Scriabin's masterpiece so what really matters, in my view...

Decca Recordings, 1965-1972 (Limited Edition)

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Stokowski in Phase 4 land, Vol. 1
Stupendous Stokowski

Decca Recordings, 1965-1972 (Limited Edition)

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Original Masters: Leopold Stokowski: Decca Recordings 1964-1975 [BOX SET]
Pierre Monteux Decca & Philips Recordings, 1956-1964
Ernest Ansermet: Decca Recordings 1953-1967
CARL SCHURICHT Decca Recordings 1949-1956
Dvorak: Symphony No7;Symphony No8;Symphony No9

ASIN: B0000B0A0P
Release Date: 2003-11-25

Customer Reviews:

Stokowski in Phase 4 land, Vol. 1.......2006-09-22

Decca has pulled a lot of Stokowski's gaudy Phase 4 recordings off the market so that they can reappear in this box set, but the company had already licensed many out to another label, Cala, that specializes in all things Stokowski. So if you pick and choose, you can buy your favorites recordings individually with a little effort. Of the two volumes in the Original Masters series, this one is the more interesting musically.

For one thing, it features two of the conductor's great strengths: his incomparable Bach transcriptions (no one else performs them with the same total commitment) and his Debussy and Ravel. Admittedly, this La Mer and Daphnis and Chloes have been multi-miked within an inch of their lives, and neither represents Stokowski as wonderuflly as his EMI Debussy collection, but if you love the old magician, you'll love these readings.

Aslo very appealing are the Enigma Variations, which Stokowski recorded only once, and the Franck D minor Sym., though don't expect world-class execution in either case. Stokowski championed early Messiaen in l'Ascension, and here is his last version, along with a swooning and seductive Scriabin Poeme d'Extase.

You have to adore recorded excess to swallow this Symphonie fantastique and Firebird, both gorgeous in a kind of Las Vegas neon billboard sort of way. But for geneations of listeners, that's what Stokowski is all about. What he's not about, sadly, is the wretchedly eccentric and nearly unlistenable Tchaikovsky Fifth Sym., the only performance in this whole set that made me hold my nose.

In all, thee are enough goodie here to justify buying the whole box, unless you want to pick and choose, in which case turn to Cala's excellent reissues.

Stupendous Stokowski.......2004-03-30

This five disc box set featuring the Decca Recordings (1965-72) of conductor Leopold Stokowski is among the latest batch of releases in the limited edition "Original Masters" series. While parts of this particular collection have been available on CD in the past (in the old "Phase 4" and "Weekend Classics" series), some of this material is being made available for the first time internationally. Those performances include Franck's Symphony (Hilversium RPO, 1970), Elgar's Enigma Variations (Czech PO, 1972), Ravel's "Fanfare" (Hilversium, 1970) and Messiaen's "L'Ascension" (London SO, 1970). Other highlights include an entire disc (CD1) of Stokowski's Transcriptions, and a delightful reading of Berlioz's "Symphonie Fantastique" with the New Philharmonia Orchestra from 1968. In all, another great set in the "Original Masters" series.

Bartok/Scriabin: The Wooden Prince/Le Poeme De L'Extase

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Bartok/Scriabin: The Wooden Prince/Le Poeme De L'Extase

Manufacturer: Sony
ProductGroup: Music
Binding: Audio CD

Ballets | Ballets & Dances | Classical | Styles | Music

Suites | Forms & Genres | Classical | Styles | Music

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ASIN: B000002A2I
Release Date: 1995-01-24

Tracks:

The Wooden Prince, Op. 13 (Sz 60): Introduction - Molto Moderato
The Wooden Prince, Op. 13 (Sz 60): First Dance: Dance Of The Princess In The Forest. Molto Moderato
The Wooden Prince, Op. 13 (Sz 60): Allegro - Second Dance: Dance Of The Trees. Assai Moderato
The Wooden Prince, Op. 13 (Sz 60): Third Dance: Dance Of The Waves. Andante
The Wooden Prince, Op. 13 (Sz 60): The Princess Notices The Staff With The Golden Locks. Allegro
The Wooden Prince, Op. 13 (Sz 60): Fourth Dance: Dance Of The Princess With The Wooden Doll. Allegro
The Wooden Prince, Op. 13 (Sz 60): Great Apotheosis: Homage Of The Trees, Waters And Flowers. Piu Sostenuto
The Wooden Prince, Op. 13 (Sz 60): Fifth Dance: The Princess In Her Endeavour To Make The Wooden Prince Dance, Pulls And Pushes Him About. Meno Mosso (Subito)
The Wooden Prince, Op. 13 (Sz 60): Sixth Dance: She Tries To Attract The Real Prince With Her Seductive Dancing. Allegretto
The Wooden Prince, Op. 13 (Sz 60): Seventh Dance: Dismayed, The Princess Attempts To Hurry After The Prince, But The Forest Bars Her Away. Moderato
The Wooden Prince, Op. 13 (Sz 60): Slow Curtain. A Tempo

Tracks:

Music For Strings, Percussion And Celesta (Sz 106): I. Andante tranquillo
Music For Strings, Percussion And Celesta (Sz 106): II: Allegro
Music For Strings, Percussion And Celesta (Sz 106): III: Adagio
Music For Strings, Percussion And Celesta (Sz 106): IV: Allegro molto
Dance Suite: I: Moderato
Dance Suite: II: Allegro molto
Dance Suite: III: Allegro vivace
Dance Suite: IV: Molto tranquillo
Dance Suite: V: Comodo -
Dance Suite: Finale. Allegro
Le Po De L'extase: Andante. Languido - Allegro volando - Lento -
Le Poeme De L'extase: Allegro Non Troppo - Moderato avec delice - Allegro - Allegro dramatico - Lento - Allegro volando - Lento -
Le Poeme De L'extase: Allegro - Scherzando - Allegro molto. Leggierissimo. Volando

Scriabin - Symphonies Nos.1-3 · Le Poème de l'extase · Promethée, le poème du feu / Stefania Toczyska · Michael Myers · Dmitri Alexeev · Riccardo Muti

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I like Ashkenazy better!

Scriabin - Symphonies Nos.1-3 · Le Poème de l'extase · Promethée, le poème du feu / Stefania Toczyska · Michael Myers · Dmitri Alexeev · Riccardo Muti
Alexander Scriabin , Riccardo Muti , and The Choral Arts Society of Philadelphia The Philadelphia Orchestra
Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

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The Penguin Guide to Compact Discs and DVDs 2005/06 Edition: The Key Classical Recordings on CD, DVD and SACD, 30th Anniversary Edition (Penguin Guide to Compact Discs and Dvds)

ASIN: B00005MIZO
Release Date: 2002-11-05

Tracks:

Sym No.1 in E, Op.26: I. Lento
Sym No.1 in E, Op.26: II. Allegro Drammatico
Sym No.1 in E, Op.26: III. Lento
Sym No.1 in E, Op.26: IV. Vivace
Sym No.1 in E, Op.26: V. Allegro
Sym No.1 in E, Op.26: VI. Andante - Stefania Toczyska/Michael Myers/The Westminster Chor/Joseph Flummerfelt

Tracks:

Sym No.2 in c, Op.29: I. Andante -
Sym No.2 in c, Op.29: II. Allegro
Sym No.2 in c, Op.29: III. Andante
Sym No.2 in c, Op.29: IV. Tempestuoso
Sym No.2 in c, Op.29: V. Maestoso
Le Poeme De L'Extase, Op.54 - Frank Kaderabek

Tracks:

Sym No.3 in c, Op.43 'Le Divin Poeme': I. Intro: Lento: Divin, Grandiose - Luttes: Allegro...
Sym No.3 in c, Op.43 'Le Divin Poeme': II. Voluptes: Lento: Sublime - Vivo: Divin Essai
Sym No.3 in c, Op.43 'Le Divin Poeme': III. Jeu Divin: Allegro: Avec Une Joie Eclatante
Promethee, Le Poeme Du Feu, Op.60 - Dmitri Alexeev/The Choral Arts Society Of Philadelphia/Sean Deibler

Customer Reviews:

I like Ashkenazy better!.......2005-01-11

Muti is great with his Philadelphia Orchestra. The recordings are high quality, but at times can get digitally distorted in the climaxes. The interpratations have a strength and expansiveness. But I still give Ashkenazy my top recommendation on the wonderfully bargin priced Trio label. He tops Muti threefold in his power, profundity, and energy! Plus the digital sound beats is clearer and more realistic than on Muti's set.

Scriabin was a Theosophist, who studied the works of Madamme Blavatsky (great female mystic). His works come from a place of spirituality and mysticism. His are inspired by the worlds religions from a esoteric approach. I can only compare his musical sound world to Franz Schmidt or Cyril Scott. Scriabin's music is on the verge of atonality, very modern sounding for the early 1900's. He took on the philosophical views of Wagner and expanded upon them, trying to create a new artform, which he didn't fulfill due to his untimely death. Look for the recording of Scriabin's "Preparation for the Final Mystery" on Decca also conducted by Ashkenazy.

Scriabin's 5 symphonies open the door to much inspiration on Nature and the Divine. There is no doubt that you can only gain by listening to Scriabin. Muti is a great start, but Ashkenazy totally understands Scriabin!

Scriabin: 3 Symphonies & Le Poème de l'extase/ Ashkenazy

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The greatest but......
Definitive Performances Of Scriabin's Orchestral Music
Magnificent!

Scriabin: 3 Symphonies & Le Poème de l'extase/ Ashkenazy
Alexander Nikolayevich Scriabin , Berlin Radio Symphony Orchestra , Vladimir Ashkenazy , Brigitte Balleys , and Sergej Larin
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Horowitz Plays Scriabin

ASIN: B000040OX4
Release Date: 2000-02-08

Tracks:

Le Poeme de l'extase, Op. 54
Symphony No. 2 In C Minor, Op. 29: Andante
Symphony No. 2 In C Minor, Op. 29: Allegro
Symphony No. 2 In C Minor, Op. 29: Andante
Symphony No. 2 In C Minor, Op. 29: Tempestoso
Symphony No. 2 In C Minor, Op. 29: Maestoso
Symphony No. 1 In E Major, Op. 26: Lento
Symphony No. 1 In E Major, Op. 26: Allegro dramatico

Tracks:

Symphony No. 1 In E Major, Op. 26: Lento - Rundfunkchor Berlin
Symphony No. 1 In E Major, Op. 26: Vivace - Rundfunkchor Berlin
Symphony No. 1 In E Major, Op. 26: Allegro - Rundfunkchor Berlin
Symphony No. 1 In E Major, Op. 26: Andante - Rundfunkchor Berlin
Symphony No. 3, Op.43 'Le Divin Poeme': Introduction
Symphony No. 3, Op.43 'Le Divin Poeme': Luttes
Symphony No. 3, Op.43 'Le Divin Poeme': Voluptes
Symphony No. 3, Op.43 'Le Divin Poeme': Jeu divin

Customer Reviews:

The greatest but.............2003-10-17

This set is amazing in every way, but get the new Ashkenazy 3-CD set released from Decca's TRIO label. It contains the 3 symphonies, the poem of exctasy, prometheus, the piano concerto, and the reverie! I bought it new from my local HMV for $11.99!!!
By far the best Scriabin I've heard besides the Muti! Ashkenazy really knows, understands and loves Scriabin's music. Plus the recorded digital sound is superlative.

Definitive Performances Of Scriabin's Orchestral Music.......2002-02-27

Vladimir Ashkenazy leads the Radio Symphony Orchestra of Berlin (recently renamed the Deutsches Symphonie Orchester Berlin) in these revelatory performances of Scriabin's orchestral music. These are passionately warm performances, especially of the "Poem Of Ectasy". Ashkenazy steers a fine middle course between technical perfection and excessive emotion, yet leads his orchestra in one brilliant performance after another. To his credit, Ashkenazy's interpretation of the "Poem Of Ectasy" isn't as dramatically intense as a Kirov Orchestra performance conducted by Gergiev that I heard a few months ago at New York City's legendary Carnegie Hall; somehow I sensed that Gergiev was losing control of his forces, especially the Brass section. Here, Ashkenazy does a splendid job keeping his forces in check, so that the brass section doesn't overwhelm the rest. The sound quality is absolutely impeccable.

Magnificent!.......2001-03-31

The Western world has had an estranged relationship with Alexander Scriabin. During the Russian composer's life he performed throughout Europe to critical acclaim. His mystical, exotic themes and passionate symphonies swept up audiences in Germany, France and even sober-minded England. So why has the legend of Scriabin faded?

Perhaps we can look to Scriabin's work itself for answers. `Le poème de l'extase' and `The Divine Poem', in particular, best represent Scriabin's use of surreal subject matter and unusual instrumentation to illustrate his unusual vision. The selected works do not present themselves to the listener - they swim, swirl, entice and ultimately confront the listener's senses. Scriabin believed in a holistic approach to composing and listening to his symphonies was never meant to be a passive experience. Scriabin was interested in esoteric cultural themes, Eastern philosophy, Russian patriotism, Nietzschesque explorations, mysticism and the "heightening of the senses through music". While Scriabin's exhaustive list of interests and often (seemingly) conflicting influences saturated his work, he manages to orchestrate and organize these volatile themes into comprehensive, powerful symphonic offerings. Quite simply, no composer before or since has been able to mold so wide a variety of themes into a single motif - and make it work.

Criticism of Scriabin's work was never unduly harsh. The most common critique from Western audiences has always been that Scriabin's work seems "foreign" or "bizarre and surreal". Russian audiences easily embrace Scriabin and in many ways he is considered one of their best kept national secrets. After Scriabin's death his work largely faded in the eye of the Western world, perhaps because Scriabin had no heir or champion in the Western world - no musical mind to adopt and expand upon his ideas. He swept across Europe like a storm, and seemed to disappear as quickly as he came.

Within the last 25 years, the Western world has been slowly reintroduced to Alexander Scriabin. European and American audiences, perhaps because of curiosity or expanding tolerance, seem eager to dive into Scriabin's music and explore the robust and eccentric themes that fueled his work. The 3 Symphonies offered here under the leadership of Vladamir Ashkenazy and performed by the Deutsches Symphonie Orchester in Berlin, are brilliant, dazzling readings of Scriabin's work. Ashkenazy captures Scriabin in all his fury and passion and spurs the musicians onto greater and greater heights.

Tracks:

Symphony No. 1 In E, Op. 26: 1. Lento
Symphony No. 1 In E, Op. 26: 2. Allegro dramatico
Symphony No. 1 In E, Op. 26: 3. Lento
Symphony No. 1 In E, Op. 26: 4. Vivace
Symphony No. 1 In E, Op. 26: 5. Allegro
Symphony No. 1 In E, Op. 26: 6. Andante
Symphony No. 2 In C Minor, Op. 29: 1. Andante
Symphony No. 2 In C Minor, Op. 29: 2. Allegro
Symphony No. 2 In C Minor, Op. 29: 3. Andante

Tracks:

Symphony No. 2 In C Minor, Op. 29 (Cont.): 4. Tempestoso
Symphony No. 2 In C Minor, Op. 29 (Cont.): 5. Maestoso
Symphony No. 3 In C Minor, Op. 43: 1. Lento - Luttes (Allegro)
Symphony No. 3 In C Minor, Op. 43: 2. Voluptes (Lento - Vivo)
Symphony No. 3 In C Minor, Op. 43: 3. Jeu divin (Allegro - Vivo - Allegro)
Po me de l'extase, Op. 54

Customer Reviews:

Pretty good.......2003-10-17

I enjoyed these performances. The recorded sound is very nice too. The interpretations are much more easy going, warm and they lack high powered energy Scriabin calls for. But I did enjoy them. My top recommendations are the Muti (unfortunatly full price), or the new 3 cd Ashkenazy set from Decca's TRIO label...(Amazing, outstanding and fantastic in all such ways!)