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Scriabin: The Complete Etudes / Piers Lane

Album Summary

>Scriabin, Alexander : Pieces (3) for Piano, Op. 2
>Scriabin, Alexander : Etudes (12) for piano, Op. 8
>Scriabin, Alexander : Etudes (8) for piano, Op. 42
>Scriabin, Alexander : Pieces (3) for Piano, Op. 49
>Scriabin, Alexander : Etudes (3) for piano, Op. 65
>Scriabin, Alexander : Pieces (4) for Piano, Op. 56
Performer Composer

Notes & Reviews:

'All the fiendish technical demands are well in his grasp, and his keen musical intelligence and finely discriminating ear do the rest' (BBC Record Review)

'Such virtuosity ... deserves engineering of a high calibre and here we get it. Quite extraordinary clarity and wide-ranging tonal fidelity in a spacious recording which places the listener at an ideal distance in a warmly welcoming acoustic setting' (Gramophone 'Sounds in Retrospect')

'Piers Lane is easily up to tackling the volatile figures that abound in Scriabin's piano music. Indeed, his technical bravura is often breathtaking ... Thankfully Lane never lets us forget that the virtuosic and poetic exist in equal measure' (BBC Music Magazine Top 1000 CDs Guide)

Gramophone Classical Music Guide
Although Scriabin's études do not fall into two neatly packaged sets in the same way as Chopin's celebrated contributions, nevertheless there's a strong feeling of continuity and development running throughout the 26 examples produced between the years 1887 and 1912. This is admirably demonstrated in this excellent issue from Hyperion, which, far from being an indigestible anthology proves to be an intriguing and pleasurable hour's worth of listening charting Scriabin's progression from late-romantic adolescence to harmonically advanced mystical poet. Indeed, although these studies can be counted as amongst the most digitally taxing and hazardous of their kind, Scriabin also saw them as important sketches and studies for his larger works, and as experiments in his gradually evolving harmonic language and mystical vision.

Piers Lane attains the perfect balance of virtuoso display and poetic interpretation. Expressive detail and subtle nuance are finely brought out, and he's more than receptive to Scriabin's sometimes highly idiosyncratic sound world; rarely, for instance, has the famous 'Mosquito' Etude (Op 42 No 3) been captured with such delicate fragility as here, and in No 1 of the three fiendishly difficult Etudes, Op 65 the tremulous, ghostly flutterings are tellingly delivered with a gossamer-light touch and a sense of eerie mystery.

The clear, spacious recording is exemplary.



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Works Details

>Scriabin, Alexander : Pieces (3) for Piano, Op. 2
  • Performer: Piers Lane (Piano)
  • Notes: 05/11/1992-05/13/1992
  • Running Time: 2 min. 57 sec.
  • Period Time: Post Romantic
  • Written: 1886-1889

>Scriabin, Alexander : Etudes (12) for piano, Op. 8
  • Performer: Piers Lane (Piano)
  • Notes: 05/11/1992-05/13/1992
  • Running Time: 28 min. 9 sec.
  • Period Time: Post Romantic
  • Written: 1894

>Scriabin, Alexander : Etudes (8) for piano, Op. 42
  • Performer: Piers Lane (Piano)
  • Notes: 05/11/1992-05/13/1992
  • Running Time: 12 min. 14 sec.
  • Period Time: Post Romantic
  • Written: 1903

>Scriabin, Alexander : Pieces (3) for Piano, Op. 49
  • Performer: Piers Lane (Piano)
  • Notes: 05/11/1992-05/13/1992
  • Period Time: Post Romantic
  • Written: circa 1905

>Scriabin, Alexander : Etudes (3) for piano, Op. 65
  • Performer: Piers Lane (Piano)
  • Notes: 05/11/1992-05/13/1992
  • Running Time: 5 min. 21 sec.
  • Period Time: Post Romantic
  • Written: 1912

>Scriabin, Alexander : Pieces (4) for Piano, Op. 56
  • Performer: Piers Lane (Piano)
  • Notes: 05/11/1992-05/13/1992
  • Running Time: 1 min. 36 sec.
  • Period Time: Post Romantic
  • Written: 1908