In the years 2001–2014, G. Henle Publishers issued Urtext editions of the ten piano sonatas by Alexander Skriabin. The Skriabin specialist Valentina Rubcova from Moscow, the editor of these ten editions, studied all of the available sources for each work. In many cases, Henle’s were the first-ever Urtext editions, offering these highly complex musical texts in an immaculate, uncluttered, newly engraved format that was truly a landmark event! Whoever would like to study all these ten sonatas can now buy them in a single volume, enabling them to trace Skriabin’s development from his Romantic early oeuvre to his mystical late works. This is an edition that belongs in the library of every discerning pianist!
- 難易度 (解説)
Piano Sonata no. 1 Alexander N. Scriabin (1872 –1915) took an early interest in the sonata genre and returned to it throughout his composing career. He wrote his first youthful sonata at the age of 15; in g minor, it bore the subsidiary title “SonateFantaisie”. There followed a sonata in c minor of which only the opening of the first movement has survived, then a … 続き
Russian composer and pianist. The focal point of his oeuvre is his extremely unique piano music; in addition, he wrote important orchestral works.
|1872||Born in Moscow on January 6, the son of a pianist (his mother); she died in 1872.|
|1888–92||Piano studies at the Moscow Conservatory|
|1888–96||Twenty-four Preludes, Op. 11, containing all the hallmarks of Scriabin’s early period: broad, ornamental cantilenas underpinned by figurations and arpeggios in the style of Chopin, complex rhythmic structure from polyrhythms and syncopations.|
|1892–1913||Composition of ten piano sonatas.|
|1896||Travels to Paris, Vienna, Rome.|
|1897||Piano Concerto in F-sharp minor, Op. 20, in the style of Chopin.|
|1897–1909/10||He primarily composes orchestral pieces, including the major works “Le Poème de l’extase” (“The Poem of Ecstasy”) for large orchestra (1905–07), Op. 54, and “Prométhée ou Le Poème du feu” (“Prometheus or The Poem of Fire,” 1908–10); orientation toward Liszt and Wagner; programmatic music with occasional annotations in the musical score, incorporation of philosophical notions into his compositions, which are defined by various philosophical movements from around the turn of the century. Unusual intervals, harmonically at the edge of tonality.|
|1899–1904||Composition of his three symphonies, Opp. 26, 29, and 43.|
|1904||He resides in Switzerland.|
|1906||Invitation to the United States.|
|1910||Return to Russia.|
|1908–10||“Prométhée ou Le Poème du feu” for piano, orchestra, organ, choir, and clavier à lumière, Op. 60: enrichment of musical performance through plays of light. 1911–14, piano compositions, Opp. 61–74, with avant-garde harmonies.|
|1913||Beginning of the multisensory “Acte préalable” (“Prefatory Action”), which is never completed.|
|1915||Death in Moscow on April 27.|
Wer sich die Ausgabe zwecks Studium anschafft, wird mit einem angenehm weiträumig angelegten Druckbild belohnt, das an Deutlichkeit nichts zu wünschen übrig lässt. Vor allem bei den reichlich vertrackten späten Sonaten, deren Details sich oft erst bei der zweiten oder dritten Lektüre erschließen, ist man dafür außerordentlich dankbar.