Alexander Scriabin - Complete Impromptus and Other Early Pieces (Boris Bekhterev)

Information

Composer: Alexander Scriabin

1. Allegro appassionato, Op. 4
2. 3 Pieces, Op. 2: 2. Prelude in B major
3. 3 Pieces, Op. 2: 3. Impromptu a la Mazur in C major
4. Nocturnes, Op. 5: 1. in F-sharp minor
5. Nocturnes, Op. 5: 2. in A major
6. Impromptus à la Mazur, Op. 7: 1. in G-sharp minor
7. Impromptus à la Mazur, Op. 7: 2. in F-sharp major
8. Pieces for the Left Hand, Op. 9: 1. Prelude in C-Sharp minor
9. Pieces for the Left Hand, Op. 9: 2. Nocturne in D-flat major
10. Impromptus, Op. 10: 1. in F-sharp minor
11. Impromptus, Op. 10: 2. in A major
12. Impromptus, Op. 12: 1. in F-sharp major
13. Impromptus, Op. 12: 2. in B-flat minor
14. Impromptus, Op. 14: 1. in B major
15. Impromptus, Op. 14: 2. in F-sharp minor
16. Polonaise, Op. 21

Boris Bekhterev, piano

Date: 2010

Label: Camerata

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Review

Boris Bekhterev’s recent recording of Scriabin’s ‘Complete Impromptus and Other Early Pieces’ brings his extensive survey of the composer’s piano music nearer to completion. Although issued as separate discs rather than a set, when taken as a whole, these recordings showcase a pianist with insight and understanding, marking him out as one of the best Scriabin interpreters of the present time.

Of the early pieces represented here the Allegro Appassionato Op.4 and the Polonaise Op.21 are the most extensive in form and style. They are Scriabin’s attempt at producing larger-scale works for his own performances and both remain useful to pianists of today.

Scriabin chose to play his Op.4 piece to begin a recital in Geneva on 30 June 1906 and it remains a good choice with which to open the chronologically presented works on this disc. Here, Bekhterev’s account gives the piece a life which lifts it far above the étude status offered by other pianists. He is successful in making the most of the melodic content, never allowing it to be obscured by technicalities. His more lyrical approach to the middle section offers a good contrast to the impassioned voice of the opening. Along with this, a good choice of tempo ensures a very convincing reading.

Choosing a suitable tempo for a Scriabin piece is one of the most important and critical decisions to be made by any pianist in preparation for a concert. Bekhterev seems to select the right tempi intuitively, and in the case of the Polonaise Op.21, his adopted tempo helps bring out the heroic character of the work. Well founded intonation allows the broad theme time to breathe with characteristic dignity.

The Impromptus date from 1889 to 1895 and the harmonic, rhythmical and mood changes required are thoughtfully handled by the pianist who manages to capture well the intimacy of these short pieces. The ever-popular Pieces for Left Hand Op.9 receive fluent and poetic presentation complemented by Camerata’s well recorded piano sound.

-- Stuart Scott

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Alexander Scriabin (6 January 1872 – 27 April 1915) was a Russian composer and pianist, renowned for his innovative contributions to classical music. He studied at the Moscow Conservatory under Anton Arensky, Sergei Taneyev and Vasily Safonov. Scriabin composed almost exclusively for solo piano and for orchestra. Initially influenced by Romanticism, his style evolved into more abstract and mystical realms, incorporating complex harmonies and unconventional scales. His most famous compositions include piano works like Etudes, Preludes, and Sonatas, as well as his symphonic work Prometheus: The Poem of Fire. 

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Boris Bekhterev (born 17 August 1942) was educated at Moscow's Gnessin School of Music, and gained his doctorate at Moscow's Tchaikovsky Conservatoire. Bekhterev has played at some of the most prestigious concert halls in the Soviet Union, Europe, the United States, Japan and other nations. He boasts a very wide repertoire, which extends from Bach and Scarlatti to modern and contemporary composers. A large part of his repertoire consists of works by Russian composers. From 1994 to 2003 he recorded 6 CDs of Russian and European music for Phoenix Classics. Since then he has been recording for Camerata Tokyo, Japan.

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