Alexander Scriabin occupies a special position among the Russian piano composers around the turn of the 19th to the 20th century. Already in his early works, he went beyond the Chopinesque traditions of his contemporaries Glazunov and Rachmaninoff. As he also did in his innumerable preludes, of which he brought together 24 in his op. 11, allowing for each major and minor key. However, in spite of keeping to the strict order of the circle of fifths, he took care to ensure that “each prelude is a small composition which can exist self-contained, independent of the other preludes”. By comparing the autograph and the first edition of 1897, this Henle Urtext edition has corrected a number of errors and inaccuracies. A grandiose work which should belong in the repertoire of every pianist!
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- 24 Préludes op. 11
Alexander Skryabin entered a wager with his friend, patron and publisher Mitrofan P. Belyayev that by April of the year 1896 he could compose a cycle of forty-eight préludes twice traversing the major and minor keys. Although he had already completed forty-six of the pieces he distanced himself from this project and divided the préludes over several volumes and opus numbers … more
About the composer
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.|
About the authors
Valentina Rubcova konnte in der neuen Urtext-Ausgabe durch Quellenvergleiche des Autographs mit der Erstausgabe von 1897 eine in allen wesentlichen Punkten auf den Komponisten selber zurückgehende Fassung der "Préludes" vorlegen. Skrjabin schrieb insgesamt 16 Bände mit "Préludes". Die hier ausgewählten gehören sicherlich zu den bekanntesten.
Vorzüglich edierter Urtext dieser frühen Kostbarkeiten Skrjabins.
Inhalt: außergewöhnlich (5 Sterne)
Druck: außergewöhnlich (5 Sterne)
Layout: außergewöhnlich (5 Sterne)
Skrjabin was notoriously bad at checking his scores and the editorial commentary is necessarily long and typically thorough.
"Jedes Prélude ist eine kleine Kompositon, die selbständig, unabhängig von den anderen Préludes existieren kann". (Skrjabin)
Ein grandioses Werk, das zum Repertoire eines guten Pianisten gehört!