subota, 06.02.2016.
Scriabin, Sonata br.3, fis mol, op.23
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Sa YTa, ispod videa, netko je dodao tekst: Sonata No. 3 in F-sharp Minor, Op. 23 (1898). Drammatico Allegretto Andante Presto con fuoco. Alexander Vaulin, piano. (Piano: Steinway & Sons) The Third Sonata belongs to Scriabin's early creative period, when the influence of Chopin and Liszt is still obvious, but at the same time his musical language begins to demonstraits its originality and self-dependency. The 1st monment, very dramatic, starts with a tempestuous, rythmically emphasized tune, perhaps reminiscent of Chopin's 2nd and 3rd sonatas. The lyrical alternative subject, cantabile, unfolds in the parallel key, A Major with a tense late-romantic comprehension of melody and harmony. The development is dominated by two powerful dynamic waves. The second is immediately followed by the reprise, which contains the climax. However the 1st ends with discretion in a brigth F-sharp Major. The 2nd movement is in E-flat Major - a little third under the 1st movement's enharmonic variant, G-flat, a typical romantic trait, which can already be found in Schubert's works. The 3rd movement is the sonata's slow movement. Its key is B Major, the maine key's major subdominant. The mood is lyrical and dreamy, and the Largo from Chopin's 3rd sonata would seem to be an important inspiration. The unquiet middle part is labelled dolorosa (sorrowful). After a short reminder of 1st movement's principal theme the music passes directly, attaca, into the final, which starts with fiery passion in F-sharp Minor. The musical language is very chromatic, the mood is fierce and dynamic. The construction is based on the old rondo-sonata principle, as in the finale of Scribin's Piano Concerto. The two first times the main theme - the refrain - appears in F-sharp Minor, the third time it comes in D-sharp Minor, at forewarming the climax in F-sharp Major. In the development, which contains several tempestuous dynamic waves, the chromatic main tune appers several times in inversion and in canon form. In the reprise the principal theme from the 1st movement returns, and just before the very end the lyrical theme from the 3rd movement passes triumphantly throug in F-sharp Major. The sonata ends, however, with a passionate outburst in F-sharp Minor. Alexander Nikolayevich Scriabin was born in Moscow on January 6, 1872 and attended Moscow Conservatory in 1888-92, where he studied under Sergei Taneyev and Anton Arensky. Later, in 1898- 1903, he himself taught the piano at the same conservatory, but as an outstanding piano virtuoso spent much of his time touring Europe and Amerika, exclusively with his own compositions. As a composer he found his creative source in Chopin, but in some of his earlier works showed a certain closeness to his classmate Sergei Rachmaninov. Piano Concerto in F-sharp Minor (1894) exhibits influence from Chopin, Liszt and the early Rachmaninov. Like Chopin - and later Rachmaninov, Scriabin wrote 24 Preludes (op.11), and much of his creative power was devoted to the piano with the ten sonatas as the most important of his works. He wrote also three symphonies, two symphonic poems ("Réverie" and "Le Poéme de L'Extase") and "Prometheus" - a syntethetic composition, wich combines the traits of symphony, cantata, concerto for piano and orcestra and a performance of colours. Scriabin was a mystic and an adherent of theosophy. He regarded art as a preparation for a certain higher form of existence and in his unfinished great work, "The Universe", aspired to the synthesis of all kinds of art. In his late works he comes nearer to modern music, but using other means than for instance Debussy and Stravinsky. In "Prometheus" directs a colour keybord, which reflects his conception of tonality as connected with certain colours' effects, and in harmony hegradually leaves the traditional classic-romantic third-fifth chord structure in favour of a forth-based structure. In this respect, however, he was not quite consistent, and his experiments with harmony ended in an impasse.Some composers tried to write Scriabin-like music, but strictly speaking he has no followers of great importance and stands as a completely independent phenomenon, who both opened and exhausted a special stylistic direction. In some works by, for example, Prokofiev and Stravinsky it is , however, possible to trace these composers' interest in Scriabin's music. Alexander Scriabin died in Moscow on April 27, 1915. dok ne iskopam luk, trebalo bi dostajati :D |
