1. Le Poème de l'Extase, Op.54   22:00
2. Piano Concerto in F sharp minor, Op.20 - 1. Allegro	7:53     play
3. Piano Concerto in F sharp minor, Op.20 - 2. Andante	8:41
4. Piano Concerto in F sharp minor, Op.20 - 3. Allegro	10:45
5. Promethée - Le Poème du Feu, Op.60   22:53

Anatol Ugorski, piano
Chicago Symphony Orchestra
Pierre Boulez, conductor
Deutsche Grammophon, 1999

If you want to hear music suited to the millennial frenzy, a prime place to start is with Russian maverick composer Alexander Scriabin. In the final years of his unfortunately brief life, he dreamed up transcendent musical projects that make Wagner seem like parlor entertainment. Among the relatively few orchestral works Scriabin did complete are some stunners that blaze a uniquely visionary, idiosyncratic path beyond the impasse of ripe fin-de-siècle romanticism. The three starkly contrasting pieces gathered here offer a splendid entrée into his music. Henry Miller once described the Poem of Ecstasy as "a bath of cocaine, ice, and rainbows." Boulez conjures oceanic heavings and flickering, perfumed washes of color from his players, leading to a mighty orgasm of sound. The composer was also a dynamic virtuoso pianist (a classmate of Rachmaninoff's), and his early concerto shows its debt to Chopin while pursuing an original and tightly integrated blend of soloist and orchestra.

Pianist Anatol Ugorski's unflapping conviction reveals the piece for the gem it is--the slow movement's melody is particularly indelible--leaving you wondering why this concerto is programmed so rarely. The piano also adds an important color in Scriabin's 1910 symphonic poem Prometheus, where he ventures even beyond the Poem of Ecstasy into progressive musical territory. From this amalgam of occult mysticism and pioneering harmony, Boulez fashions a majestically textured, multidimensional account that sounds opulent but unclotted. If this whets your appetite for a truly unique composer, try the Scriabin twofer on Chandos that includes his bizarrely brilliant Divine Poem Symphony. --Thomas May

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CD1
1.Prelude for piano in B major, Op. 2/2
2 Prelude for piano in C sharp minor (for left hand alone), Op. 9/1
3 – 26. Preludes (24) for piano, Op. 11               play
27 – 32. Preludes (6) for piano, Op. 13
33 – 37. Preludes (5) for piano, Op. 15
38 – 42. Preludes (5) for piano, Op. 16

CD2
1 – 7. Preludes (7) for piano, Op. 17
8 – 11. Preludes (4) for piano, Op. 22
12 - 13. Preludes (2) for piano, Op. 27
14 – 17. Preludes (4) for piano, Op. 31
18 – 21. Preludes (4) for piano, Op. 33
22 – 24. Preludes (3) for piano, Op. 35
25 – 28. Preludes (4) for piano, Op. 37
29 – 32. Preludes (4) for piano, Op. 39
33. Prelude for piano in E flat major, Op. 31/3       play
34 – 37. Preludes (4) for piano, Op. 48
38. Prelude for piano in F major, Op. 49/2
39. Prelude for piano in A minor, Op. 51/2
40. Prelude for piano in E flat major, Op. 56/1
41. Prelude for piano, Op. 59/2                       play
42 – 43. Preludes (2) for piano, Op. 67
44 – 48. Preludes (5) for piano, Op. 74

Piers Lane – piano

Following his acclaimed recording of Scriabin's complete Etudes (Hyperion, CDA66607), Piers Lane now gives us the complete Preludes. The performances are bold and compelling, matching technical bravura with a rich vein of poetry and colour, communicating Scriabin's vivid and exceptional imagination. Beautifully recorded and superbly annotated by Simon Nicholls, this new two-disc set is a must for all lovers of Scriabin and the piano.

Scriabin was by natural inclination a miniaturist, and he composed short piano pieces throughout his life. His Preludes—fleeting evocations sometimes less than a page in length—foreshadow the Visions fugitives of Prokofiev and are descendants of the equally compact Preludes of Chopin.

Like a musical Fabergé, Scriabin is capable of creating a glittering world in a tiny space; the exquisite writing reflects the composer's own subtle pianism, which he liked to describe as 'crystalline' and 'perfumed'. The poetic diversity of these miniatures creates a fascinating programme, ranging from volcanic energy and disturbing violence to haunting stillness and atmospheric illusion. ---hyperion-records.co.uk

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1. Prélude op.11 n°4. Lento
2. Sonate-Fantaisie (Sonate n°2), Op. 19: I. Andante
3. Sonate-Fantaisie (Sonate n°2), Op. 19: II. Presto
4. Deux Poèmes, Op. 32: I. Andante cantabile
5. Deux Poèmes, Op. 32: II. Allegro, con eleganza, con fiducia
6. Fantaisie, Op. 28
7. Feuille d'album No. 1, Op. 45: Andante piacevole
8. Deux Morceaux, Op. 57: I. Désir
9. Deux Morceaux, Op. 57: II. Caresse dansée
10. Sonate No. 3, Op. 23: I. Drammatico
11. Sonate No. 3, Op. 23: II. Allegretto
12. Sonate No. 3, Op. 23: III. Andante
13. Sonate No. 3, Op. 23: IV. Presto con fuoco
14. Cinq Préludes, Op. 74: I. Douloureux, déchirant
15. Cinq Préludes, Op. 74: II. Très lent, contemplative
16. Cinq Préludes, Op. 74: III. Allegro drammatico	
17. Cinq Préludes, Op. 74: IV. Lent, vague, indécis	
18. Cinq Préludes, Op. 74: V. Fier, belliqueux
19. Ironies No. 2, Op. 56: Vivo, scherzoso
20. Sonate No. 9, Op. 68: "Messe noire" (Poème satanique)
21. Mazurka No. 3, Op. 24: Lento

Alexander Melnikov - piano

Alexander Scriabin -- an onanistic, orgiastic poetaster of a composer and the creator of the Russian pianistic equivalent of Egon Schiele's most intimate self-portraits -- is not for everybody. The easily offended and the faint of heart should stick to Scarlatti. But for those for whom the lushly chromatic, lavishly virtuosic, and palpably sensual piano music of Liszt is no longer enough, Scriabin may be just the thing to boost the dosage. In this debut recital by young Russian pianist Alexander Melnikov, all the best aspects of Scriabin's chromaticism, virtuosity, and sensuality are on display. From the massive sonatas to the ephemeral Feuillet d'album, from the early Chopin-esque preludes to the late phantasmagorical Messe noire -- Poème satanique, Melnikov is totally on top of the notes and deep inside the music. Other pianists have played Scriabin superlatively before -- the supernaturally virtuosic Horowitz and the superhumanly intense Richter, for example -- but only Sofronitsky has so completely incarnated the combination of the messianic eschatology and salacious sexuality that is the irreducible core of Scriabin's aesthetic. As brilliantly captured in Harmonia Mundi's crisp, clear sound, Melnikov's recital is a wholly magnificent achievement that will be incredibly difficult to follow. Indeed, it is hard to see how he could follow it -- what other composer could he play? Liszt, of course, but who after that? Could Melnikov control himself in Chopin, contain himself in Schubert, or restrain himself in Mozart? The mind boggles. ---James Leonard, Rovi

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1. Etude In C Sharp Minor, Op. 2, No. 1
2. Etude In C Sharp Major, Op. 8, No. 1
3. Etude In F Sharp Minor, Op. 8, No. 2
4. Etude In B Minor, Op. 8, No. 3
5. Etude In B Major, Op. 8, No. 4
6. Etude In E Major, Op. 8, No. 5
7. Etude In A Major, Op. 8, No. 6
8. Etude In B Flat Minor, Op. 8, No. 7
9. Etude In A Flat Major, Op. 8, No. 8
10. Etude In G Sharp Minor, Op. 8, No. 9
11. Etude In D Flat Major, Op. 8, No. 10
12. Etude In B Flat Minor, Op. 8, No. 11
13. Etude In D Sharp Minor, Op. 8, No. 12
14. Etude In D Flat Major, Op. 42, No. 1
15. Etude In F Sharp Minor, Op. 42, No. 2
16. Etude In F Sharp Major, Op. 42, No. 3
17. Etude In F Sharp Major, Op. 42, No. 4
18. Etude In C Sharp Minor, Op. 42, No. 5
19. Etude In D Flat Major, Op. 42, No. 6
20. Etude In F Minor, Op. 42, No. 7
21. Etude In E Flat Major, Op. 42, No. 8
22. Etude In E Flat Major, Op. 49, No. 1
23. Etude, Op. 56, No. 4
24. Etude, Op. 65, No. 1

Nikita Magaloff – piano

As one might surmise from the low opus number, this is early Scriabin and thus somewhat stylistically derivative. Yet while it divulges unmistakable echoes of Chopin and Liszt, it also reveals a good measure of sophistication and growing mastery of keyboard writing, pointing the way toward the later individualism of the composer. The Etude No. 1 in C sharp minor, with its nervously caressing thirds, is decidedly Chopin-esque, but also exhibits that quirky flow so typical of Scriabin, even in some early pieces. The Second, in F sharp minor, brims with passion and mystery, mixing Chopin with a kind of Rachmaninovian agitation in its cross rhythms. The Etude No. 3 in B minor has the same kind of tempestuous character, but challenges the soloist with a speedy mixture of octaves and single notes. No. 4, in B major, is relatively tranquil in its brightness and sweet nostalgia. The ensuing Etude in E major is more challenging than it sounds, moving consistently in and out of various octave ranges, while turning more intense as the piece progresses. The Sixth, in A major, is graceful and charming in its mostly upper-register sonorities and challenging sixths. The Seventh, in B flat minor, is full of colorful energy and virtuosic hurdles for the soloist in its Presto outer sections. No. 8, in A flat major, is a lovely Lento whose gentle melancholy has a characteristically Scriabin-esque broken flow to its Romantic utterances. The Etude No. 9 in G sharp minor, at about five minutes, is the longest and most powerful piece in the set. Octaves abound in the furor, with Liszt coming to mind in the outer sections, both in the virtuosic writing and in the sinister but dazzling nature of the music. There is a charming, mostly subdued middle section, offering imaginative contrast. The D flat major Tenth mixes staccato and legato writing in quirky, playful music. No. 11, in B flat minor, is sad in its elegance and subdued manner. The closing Etude in D sharp minor, lasting about four minutes, is another long effort and features a powerful sense of yearning, as if expressing some dire frustration or failure. This is probably the most famous etude in the set.

Of the 74 opus numbers in Scriabin's catalog, 13 date to 1903, probably his most productive year in keyboard composition. Not only was it a fertile period, but it also marked the appearance of his first truly mature piano works, following a two-year stretch during which the composer had mostly focused on orchestral music (Symphony No. 2 and No. 3). The Etudes, Op. 42, are among his most rewarding piano works -- works whose nascent modernity point toward the mystical and often weird compositional ideas of his final years. The music here is still post-Romantic, but sounds overripe, pushing out toward new horizons, harmonically, rhythmically, and thematically. The opening etude in D flat major has a Chopin-esque spirit but a Scriabin-esque sound. Triplets swirl and rhythms perplex as cascades of notes spin out a carefree web of light fabric and brilliant colors. The ensuing F sharp minor etude, at about a minute in duration, is one of the set's shortest entries. It is playful in its quirky melody and hushed in its brief middle section, the whole leaving a sense of capriciousness. No. 3, in F sharp major, is also brief, but its quivering, twittering radiance seems perfectly matched to the piece's nickname of "Mosquito." The Etude No. 4 in F sharp major features a lovely theme whose Romantic manner sounds a bit perfumed, as if to conceal inner decay. The piece is typical of Scriabin, reaching out beyond an expressive language not quite suited to the music. No. 5, in C sharp minor, has a sinister character to its roiling bass, but a sense of passion to its agitated main theme. The alternate theme is lovely and contrasts well in its more-tempered Romanticism. The Sixth, in D flat major, is tentative in its uncertain gait, passionate but restrained in its sudden Romantic blossomings, and intense with yearning as it confronts the soloist with challenging wide stretches and tricky rhythmic hurdles. The Etude No. 7 in F minor, another one-minute affair, is bright and quirky, full of sunshine, but sunshine on a misty, cool day. The closing E flat major etude features a playful nervousness in its outer sections with a start-and-stop manner in its hyperactive accompaniment. The odd, stately middle section features big chords of ambivalent emotional expression, which sound like a sobering response to Rachmaninov's sweet gloom. The whole set lasts about 16 or 17 minutes in performance. ---Robert Cummings, Rovi

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Disc 1:
1-5. Symphony No. 2 In C Minor, Op.29
6. Le Poeme De L' Extase, Op.54

Disc 2:
1-3. Symphony No. 3 In C Minor, Op.43 (Le Divine Poeme)
4-6. Concerto For Piano And Orchestra In F-Sharp Minor, Op. 20

Yuri Krivosheyev (Trumpet)
Alexei Nasedkin (Piano)
USSR Symphony Orchestra
Evgeny Svetlanov - conductor

The Second Symphony was completed in 1901, a year after the first. It is the most traditional of his symphonies in formal structure. The first two movements (Andante, Allegro) are played without a break and structurally form a classical sonata movement. In the third movement (Andante), however, he makes a remarkable advancement toward the heavily chromatic sound associated with the mature Scriabin. The movement opens with a birdsong played by the flute, another Scriabin characteristic. The rest of the movement, with its frequent evocations of birdsong and other sounds of nature, is like a long, dreamy walk through the wilderness. Even the central climax is unforced. A lovely movement, the fourth movement (Tempestuoso), a minor-key scherzo, is full of turbulent string, timpani, and brass writing, interrupted briefly in places by some more lyrical writing. Toward the end of the movement, the key modulates into the major and leads seamlessly into the final Maestoso movement with a majestic restatement of the symphony's opening theme. This generally uninspired movement lacks interesting harmonic or thematic development, and the conclusion is tepid. Even Scriabin said of the last movement, "I liked it when I wrote it, but now it doesn't please me anymore...the last part is banal." This work marks important strides in Scriabin's growth as a composer, and still shocked its initial audience somewhat when it premiered in St. Petersburg under the baton of Anatol Lyadov on January 12, 1902, but it is hard to recommend for general listening except for the true Scriabin devotee. --- John Dobson, Rovi

Scriabin's Symphony No. 3 is the first of the composer's major orchestral works to bear explicit extramusical intent. The titles appended to each movement are as colorful as the music itself : "Luttes" (Struggles), "Voluptes" (Pleasures), and "Jeu divin" (Divine Play). The work's performance instructions go well beyond the traditional Allegro or Andante; here, markings such as "mysterieux," "tragique," and "sublime" appear in Scriabin's orchestral music for the first time. These indications represent far more than superficial descriptions; indeed, they demonstrate the struggle Scriabin and his contemporaries faced in trying to express the turbulent emotions of their music in conventional terms. In the program notes for the premiere, Scriabin noted that his "Divine Poem" represents the growth of the human spirit as it is freed from legends and mysteries, passes through pantheism, and ultimately affirms its liberty and unity with the universe.

"Luttes" is meant to represent the conflict between man enslaved by another God versus man himself in the role of God himself. It opens with an ominous theme in the brass; the strings soon enter with an agitated minor-mode motive that gradually migrates toward a theme in the major mode. From this point, there is no longer any solid sense of tonality, and shifts between major and minor occur suddenly and frequently. Dynamic levels are similarly in constant flux, and at times it seems as though climaxes spring up every few measures. Nevertheless, Scriabin's mastery is such that he is able to bind this long movement into a cohesive whole despite its inescapably episodic nature. "Voluptes" is pure sonic sensuality. From a quiet opening of saccharine music for winds and strings, the movement gradually builds into an expression of unbridled, powerful sensuality. This movement leads without interruption into "Jeu divin," where the spirit, freed from submission to a higher power, relinquishes itself to the supreme joy of a free existence. This is rich and richly exciting music, characterized by a torrent of unpredictable changes of mood. The work ends, with a note of gentle ecstasy, on a Brahmsian final chord. Though the work clearly lacks the maturity of later masterpieces like the Poem of Ecstasy (1905-08) or Prometheus (1908-10), it is still a highly individual and worthy effort that provides a fascinating glimpse into the development of Scriabin's singular aesthetic. --- John Dobson, Rovi

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1. I. Lento	Riccardo Muti/Philadelphia Orchestra	7:38
2. II. Allegro dramatico	Riccardo Muti/Philadelphia Orchestra	8:53	
3. III. Lento	Riccardo Muti/Philadelphia Orchestra	10:13	
4. IV. Vivace	Riccardo Muti/Philadelphia Orchestra	3:14	
5. V. Allegro	Riccardo Muti/Philadelphia Orchestra	7:34	
6. VI. Andante	Riccardo Muti/Philadelphia Orchestra/Stefania Toczyska/Michael Myers/Westminster Choir	13:03

Stefania Toczyska - mezzo-soprano
Michael Myers - tenor
The Westminster Choir
The Philadelphia Orchestra
Riccardo Muti – conductor

While it was fashionable for some at the end of the nineteenth century to defer to the weight and wisdom of history by postponing composition in so ambitious a genre as the symphony until well into one's artistic maturity, Alexander Nikolayevich Scriabin felt no such obligation. He openly conflated the roles of composer and prophet, and assumed an artistic vision virtually unmatched in its cosmic scope. This vision -- which is not hard to extrapolate from the sublime transcendence sought by the Romantic symphonists, though Scriabin conveyed it in a more starry-eyed, self-assured manner than most -- went hand in hand with the unflinching compositional flair that drove him to complete his first symphony at the age of 28.

The work is no trifling undertaking, either -- a sprawling six movements lasting nearly an hour (longer, in fact, than both his second and third symphonies), it addresses no less a subject than the divine nature of art. In fact, in the final movement a chorus and two vocal soloists are employed to sing the praises of artistic creation. This is a gesture, of course, already loaded with meaning: ever since the baritone in the finale of Beethoven's Ninth interrupted the instrumental recollections with "Nay, friends, not these tones!," ushering in the exuberant choral Ode to Joy, the use of a chorus in a symphonic finale has been a signal of heavenly ambition, as if meeting the singing angelic hosts halfway. Scriabin utilizes other tried and true unifying techniques, as well, such as the explicit recall in the final movement of themes heard in earlier movements, and the use, albeit somewhat vestigial, of sonata structure. Some even see the work's six-movement form as a hypertrophied version of the traditional four-movement scheme, with the opening Lento acting as an extended introduction to the subsequent Allegro drammatico, the third movement's Lento positioned in the slow movement's standard inner position, the fourth movement Vivace in the scherzo's spot, and the Allegro in the penultimate, rather than ultimate slot -- which is reserved for the Andante choral movement. The entire work is cast in Scriabin's characteristically lush, chromatic harmonic language, with languorous lines and thick, viscous, undulating counterpoint. This makes all the more striking the moment midway through the finale when, for the first time in the entire piece, the meter changes from flowing triple divisions to the steady, articulate 4/4 meter that carries the piece to its conclusion. ---Jeremy Grinshaw, Rovi

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1. Sonata in E flat minor I
2. Sonata in E flat minor II
3. Sonata in E flat minor III
4. Valse In F Minor Op.1
5. Valse In G Sharp Minor
6. Valse In D Flat Major
7. Variations On A Theme By Mlle Egorova
8. Nocturne In A Flat Major
9. Nocturne In F Sharp Minor Op.5 No.1
10. Nocturne In A Major Op.5 No.2
11. Sonate-fantasie
12. Fugue In E Minor
13. Canon In D Minor
14. Mazurka In B Minor
15. Mazurka In F Major
16. Etude In D Sharp Minor Op.8 No.12
17. Prelude In C Sharp Minor Op.9 No.1
18. Nocturne In D Flat Major Op.9 No.2
19. Allegro Apassionato Op.4

Stephen Coombs – piano

None of the pieces on this disc was written later than 1894, when Scriabin was 22; all reveal a prodigious young talent heavily indebted to Chopin, with just occasional glimpses of the idiosyncrasy and perfumed eroticism that were to characterise the later composer. Stephen Coombs is the faithful and sympathetic interpreter. --- -- Barry Millington, BBC Music Magazine

Lovers of Scriabin's exotic, perfumed piano music, can not be without this disc. It conveniently collects all of Scriabin's early piano works that don't form part of a larger genre group. The largest work is, in fact, a piano sonata, but one that Scriabin abandoned as his musical language was developing so rapidly. He reworked the first movement to form the Allegro appassionato Op 4, and much of the rest of the work was lost for many years. It re-surfaced in 1970, and here it is played in a completion by Stephen Coombs himself. There are also attractive juvenile miniatures, and more mature works such as the two pieces for the left hand Op 9, and two Nocturnes Op 5; and, fascinatingly, an early version of the well-known Étude in D sharp minor Op 8 No 12 (the virtuoso work made famous by Horowitz and others).

Stephen Coombs has already shown himself to be a stylish advocate of neglected Russian repertoire, and here he brings all his musicianship and idiomatic affinity to create an inspiring and illuminating disc. This is a must for those interested in the development of the uniquely individual composer. It goes some way to providing an answer to Stravinsky's exclamation: "Scriabin … where does he come from; and who are his forebears?". --- hyperion-records.co.uk

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 	Sonata No. 1 Op. 6, In F Minor 	(26:14)
1-01 	Allegro Con Fuoco 	10:00
1-02 	(Without Tempo Marking) 	6:19
1-03 	Presto 	3:23
1-04 	Funèbre 	6:32
	Sonata No. 2 Op. 19, In G Sharp Minor 	(11:47)
1-05 	Andante 	7:58
1-06 	Presto 	3:49
	Sonata No. 3 Op. 23, In F Sharp Minor 	(20:32)
1-07 	Drammatico 	7:23
1-08 	Allegretto 	2:14
1-09 	Andante - Attacca 	4:54
1-10 	Presto Con Fuoco - Maestoso 	6:01
2-01 	Fantasie Op. 28, In B Minor 	9:36
	Sonata No. 4 Op. 30, In F Sharp Major 	(8:26)
2-02 	Andante 	3:22
2-03 	Prestissimo Volando 	5:04
2-04 	Sonata No. 5 Op. 53, In F Sharp Major 	13:05
2-05 	Sonata No. 6 Op. 62 	11:34
2-06 	Sonata No. 7 "White Mass" Op. 64 	13:37
3-01 	Sonata No. 8 Op. 66 	14:36
3-02 	Sonata No. 9 "Black Mass" Op. 68 	9:57
3-03 	Sonata No. 10 Op. 70 	13:45
3-04 	Sonata-fantaisie In G Sharp Minor (1886) 	8:14
	Sonata In E Flat Minor 	(18:49)
3-05 	Allegro Appassionato 	7:42
3-06 	(Andantino) - Attacca 	6:41
3-07 	Presto 	4:26

Robert Szidon - piano

Long out of print and desperately sought by fans, Roberto Szidon's legendary recordings of Scriabin's piano sonatas were part of a major revival in the early '70s, which also yielded the celebrated recordings by Ruth Laredo, Michael Ponti, and Vladimir Ashkenazy. With this 2004 reissue, Szidon's performances may be compared to these others and not found wanting. Indeed, Szidon's are superior in many regards, and notwithstanding preferences for more familiar readings, this set will win many converts. Szidon has all the clarity of Laredo, none of the cloudiness of Ponti, and his visceral excitement matches Ashkenazy at every point, though without headlong rushing. The playing is fluid and spontaneous, in keeping with Scriabin's myriad directions on expression and volatile dynamic changes; yet Szidon's interpretations are never so frenetic that the music's rhythms are forgotten. Played precisely, in tempo, the sonatas are often flirtatious and dance-like, and this impulse contributes greatly to the music's delicacy and eroticism. Reissued in Deutsche Grammophon's Trio series, the set also includes the Fantaisie in B minor, which serves as a bridge to Scriabin's mature style and sets up the Sonata No. 4 and the later works nicely. The recorded sound is astonishing for analog, and the splendid digital transfer preserves Szidon's highly nuanced colors and dynamics. ---Blair Sanderson, AllMusic Review

These classic Szidon recordings dating from the late 1960s and early 1970s must surely have won many a listener over to this enigmatic and fascinating composer. Their brief life-span in the catalogue (apart from the appearance of Sonatas Nos. 7-10 in DG's mid-price Collector's series in the 1980s) was long lamented by many a Scriabin enthusiast who had either discovered this addictive composer after the set's demise, or whose original recordings were in dire need of replacement. Their reappearance on CD could not be more timely; Scriabin's music is enjoying a considerable revival at present with more recordings of his music in The Classical Catalogue than ever before. Of course on the down side this means that Szidon's set re-enters the catalogue at a time when the competition is particularly great. Personal reservations regarding these discs almost exclusively concern Sonatas Nos. 1-4, where the superior sound-quality of the CD medium has tended to emphasize the rather brittle and tinny piano sound of the 1968 recordings. Sonatas Nos. 7-10, on the other hand, were recorded in 1971 and can still be regarded as some of the finest on disc.

Sonata No. 1: A dramatic and highly charged account of this youthful and impetuous outburst against life, God, the universe and everything. Szidon is one of the few pianists to observe the first movement repeat. By far the most convincing and compelling No. 1 on disc.

Sonata No. 2: A somewhat underpowered performance which, though not without either beauty or delicacy, still falls some way short of the sheer bravura and 'tingle factor' of Demidenko's performance for Conifer.

Sonata No. 3: Fares better than No. 2, but again the more recent accounts from Graham Scott (Gamut) and Gordon Fergus-Thompson (ASV) ultimately put Szidon out of contention.

Fantaisie in B minor, Op. 28: The only available recording at present of this much neglected and immensely likeable work (who can fail to succumb to the haunting and beguiling second theme?). An exceptionally passionate and virtuosic performance. Sonata No. 4: Szidon's idiosyncratic account of this Icarus-like piece is disappointing. No fear of flying to close to the sun here as we never really get airborne to start with!

Sonata No. 5: A fairly spacious account of Scriabin's most frequently performed Sonata, with some impressive playing gracing the opening and closing sections. However, Richter's classic DG recording of 1983 remains unimpeachable.

Sonata No. 6: A truly malevolent piece of music. Szidon gives us a chilling performance—when Scriabin writes l'epouvante surgit (''the frightening rises up'') that's exactly what he gets. Scriabin was apparently scared of this work and never performed it in public. Best listened to in a darkened room.

Sonata No. 7 (''White Mass''): Scriabin saw this Sonata as an antitoxin for the venom of No. 6. Some antidote! Szidon whips the music into an orgiastic frenzy of sound that culminates in a climax that's guaranteed to blow your socks off.

Sonata No. 8: The least well-known of the late sonatas. It also poses the greatest interpretative problems. Ashkenazy's Decca recording remains first choice.

Sonata No. 9 (''Black Mass''): Scriabin's friend Alexei Podgaetsky was responsible for the subtitle Black Mass. Scriabin actually regarded parts of it as ''saintly''.

There are several fine performances available, but this powerful reading remains a personal favourite. Sonata No. 10: One of the most extraordinary sonatas to have emerged in the early part of this century. Scriabin described it as ''a sonata of insects. Insects are born from the sun, they are the sun's kisses''. Szidon's performance is exceptionally fine.

Also included in the set are the early Chopinesque works, the Sonate-fantaisie of 1886 and the Sonata in E flat minor of 1887-89. These are something of a culture shock heard directly after the Tenth Sonata, but their rarity value adds all the more to the attractiveness of this highly recommendable reissue.' ---Michael Stewart, gramophone.co.uk

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01. Feuillet d'album in E-flat Major, Op.45, No.1	play
02. Étude in F-sharp minor, Op.8, No.2		play
03. Étude in B-flat minor, Op.8, No.11
04. Étude in D-flat Major, Op.8, No.10
05. Étude in A-flat Major, Op.8, No.8
06. Étude in F-sharp Major, Op.42, No.3
07. Étude in F-sharp Major, Op.42, No.4
08. Étude in C-sharp minor, Op.42, No.5
09. Sonata No.10 in C Major for Piano, Op.70
10. Poème, Op.69 No.1
11. Poème, Op.69 No.2
12. Allegro moderato from Vers la flamme, Op.72

Vladimir Horowitz – piano

Recorded [1-8&10-12] 1972; [9] 1966

Horowitz, who at the age of eleven met Scriabin, once described the composer's music as "super-sensuous, super-mysterious, super-romantic. It's all a little bit overboard." The pianist was ideally suited by temperament to play that Scriabin's highly charged, nervous music. Horowitz once described Scriabin's music as "super-sensuous, super-mysterious, super-romantic. It's all a little bit overboard." There have been numerous pianists who have equaled Horowitz's Scriabin technically (most notably Marc-Andre Hamelin) but none have captured the breathless, nervous quality of this music as has Horowitz.

Part of the success of Horowitz's Scriabin is his clarity, both musical and technical. The pianist adopts an almost structural approach to these works, which runs against the tendency by some others to slather them in Romantic excess. Horowitz uses less sustaining pedal than is customary in these works (as in the stunning Etude in Thirds, Op. 8, No. 10), although one would never think of calling Horowitz's Scriabin "dry." In the later more mystical works, he uses slightly more pedal, but never drowns the work in sustaining syrup as all too many pianists do. Even in Scriabin's most twisted melodic and pianistic contortions, clarity and balance are maintained. Horowitz also manages to produce a stunning fortissimo (as in Vers la Flamme) without hammering the piano to death or throwing the lines out of balance.

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