Andrew Palmer, Group Editor
Classical Music: Scriabin Vers la flamme
Vers La Flamme, Op. 72; Sonata No 4 in F sharp major; from 24 Preludes No. 2 in a Minor; No. 11 in B Major; Fantasy in B Minor, Op. 28; From 12 Études No. 4 in B Major; No. 7 in B-flat Minor; No. 11 in B-flat Minor; No. 3 in B Minor; 5 Preludes; Mazurka in E Minor, Op. 25, No. 3; Poème in F-sharp Major, Op. 32, No. 1; Étude in C-sharp Minor, Op. 42, No. 5; Piano Sonata No. 10, Op. 70; Prelude for the Left Hand Op9 (1894) No1; Nocturne for the Left Hand Op 9 (1894) No 2
Yevgeny Sudbin piano
BIS SACD 2538
https://www.bis.se/
As a student, I recall animated discussions about this Russian composer, whose music many of my contemporaries admired. There is certainly much to savour on this disc as compatriot Yevgeny Sudbin displays authentic virtuosity throughout the programme.
Scriabin's music, characterised by its oscillation between reality and delirium, resonates deeply with Sudbin, who notes, "His music is like a narcotic. It draws you in, takes hold of you, and doesn't let go." This personal connection to Scriabin's soundscape is mirrored in Sudbin's illuminating album notes, which offer insights into both the composer's esoteric personality and Sudbin's own experiences navigating challenging times during the pandemic.
Sudbin's interpretations cover a spectrum of emotions. He captures the intensity of a steelworks' furnace, delivering robust technique alongside creative and artistic interpretation through inspired expression. The range of colours and textures is impressive; passion and drama rise with the temperature. The golden colours represent tonality, and there is constant luminescence throughout.
The Fourth Sonata brilliantly showcases Sudbin's incredible technique across its two contrasting movements. The Poème in F-sharp major offers a delightful lyrical interlude where the heat glows, nearly burning out—all too brief, with the change caught beautifully.
The Études truly demonstrate Sudbin's exceptional skill for mood transitions and varied rhythms, driven through an energy as strong as my metaphorical fire. His charisma shines as we come to understand the composer through his harmonic language. Sudbin displays a profound connection with his instrument—delicate at times, ensuring every detail is present and framing his musical lines with precision.
It is in the Sonata No. 10, Op. 70, that we most appreciate Sudbin's relationship with the composer as he expressively conveys Scriabin's vision through wonderful phrasing and articulation. This performance is wonderfully compelling, and the recording balance is superb.
The programme concludes with the Prelude and Nocturne for the Left Hand, works borne out of adversity as Sudbin points out in his lnotes. While preparing for his graduation in 1891 by practicing virtuosic pieces like Balakirev's 'Islamey' and Liszt's Don Juan Fantasy, Scriabin severely injured his right hand. Physicians at the time declared he would never play normally again—a devastating verdict that triggered profound emotional turmoil. During this dark period, he composed his first piano sonata and these exquisite left-hand pieces, forging creative fire from personal tragedy. Remarkably, against all medical predictions, Scriabin recovered and graduated from the conservatory with the Little Gold Medal in 1892. His composition studies, however, remained incomplete due to temperamental conflicts and "strong differences of musical opinion" with Arensky, who also taught Rachmaninoff.
In Sudbin's magical, shimmering performance, these left-hand works become truly transcendental—a single hand creating the illusion of two. Like embers casting their final, most intense glow before dawn, they showcase melodic lines of flawless and delightful poetry. Here, as the flame begins to subside, we witness perhaps the most mesmerising moments of the entire recording—where limitation becomes liberation and technical constraint transforms into pure expressive fire.
A blazing triumph.