Nothing like the sound of vinyl! I really like these interpretations. Beautiful independent right and left hand playing and just well thought out performances. There is a real consistency in this playing from prelude to prelude.
So I've listened to pretty much all recordings of the first of the Préludes available here, and this one towers over all others. I'm playing it myself right now, and I'm comparing how various pianists handle some of the challenges that I find in this piece. First, the tempo. It's supposed to be 40 quarter notes per minute, which is slower than the piece feels to me and apparently to all pianists I've come across here. I don't know whether the tempo indication is by the composer himself or not, but I presume it is. Zhukov plays it at about 50, which is slower than all others I've heard (Sofronitsky is the fastest, I didn't clock him but it feels like 80). Second, there is the question of what to do with the "inner voice" in the left hand. In most bars, there are three rising notes in the left hand indicated as a separate voice, to be played portato. This is easy to achieve when the right hand isn't playing, like in the first two bars. But when the right hand plays eighths or triplets, then it gets a bit messy when you over-accentuate the inner voice. Some pianists solve this by ignoring the inner voice whenever the right hand is playing anything faster than quarter notes. This cannot be the solution, since the score indicates otherwise. Zhukov does this beautifully - he softens the inner voice when the right hand is very "active" but brings it out in many places others don't, for example in bars 11 (0:47) and 13 (0:52) where the right hand only is indicated as pianissimo. Nobody else I heard does this. The effect is wonderful and true to the score. Third, and this is related to both previous points actually, the ways he handles repeated notes is nothing short of spectacular. In some places, the same note is played twice in a row, once belonging to the right-hand melody, once to the inner voice. Bar 6 is such an place. When you play the piece too fast (my first point above) these repeated notes tend to sound like hiccups. That might be the reason why some pianists choose not to play the inner voice (my second point). But Zhukov solves it by slowing down a little bit before the repeated notes appear, thereby giving each note its place - the first one in the right hand melody, the second one in the inner voice. I listened to bar 6 (0:25) about 10 times in a row until I figured out what he was doing. His slowing down is so slight that you might not notice it, but it's just right to solve that awkwardness of the repeated notes. Incredible! Fourth, there is the issue of how to get the full effect of the last two chords (2:28). The harmonic effect here is Wagnerian and needs to shine, but it's lost in most interpretations. It's tricky to achieve the full surprising effect of moving from C-major to B-major when the chords are played pp and ppp as indicated in the score. To be honest, I don't find Zhukov fully convincing here either, I'm missing the jaw-dropping effect of the harmonies, the OMG-moment. But honestly, that's the only fault I could find at all, and I haven't heard anyone do it better either. My verdict: Wonderful interpretation, true to the composer's intentions, very deep understanding, and it's apparent he really feels the music.
@@SCRIABINIST I just finished Op.3413… that was 2 years of poetry writing. By the way the Scriabin at 150 Online Festival I’m organising is going ahead in Nov 2022. I’ll post more about it soon…
I'm rediscovering Zhukov after many years,with much pleasure,and thanks to your biographical note,learn more of his life.I had the impression of a rather unsubtle player,(Medtner&Balakirev concertos,Skriabin sonatas..)at that time,but here discover a very sensitive response to smaller Skriabin pieces,and the Bechstein helps paint so many lines&harmonies in clear,limpid colors.
Simply extraordinary. Beside the general mastery and deep understanding of each piece, the pedal work of this pianist is matched only by a few of the caliber of Horowitz, Sofronitzky, Rachmaninoff, Lipatti.
No. 3 has passages with the absolute feel of Black gospel piano of our day, like the descending R.H. chords with ascending L.H. octaves beginning around 5:25.
I think Zhukov has a lovely touch here and a fine feeling for the music (a few lapses in dynamic observance not withstanding).I particularly enjoyed the intimacy of No. 3.
This is such a touching performance. I’ll be listening to these preludes on loop and writing Zhukov (and Scriabin) a set of 5 poems... and attempt to make my own version in recording later... if possible I’ll publish a book of poetry (entirely written in my newly invented short poetry form) in 2021, with my own recordings to go with all the poems... my personal tribute to Scriabin’s 150th!
I previously did not realize how wonderful I.M. Zhukov's playing is - having listened to no more than a couple of works. However, in these Scriabin Preludes he musically caresses the keys with such care and understanding. Perhaps occasionally, rhythm might not quite convince, but now I want to hear more of his exquisite art.
To me the Bechstein was the choice of the grand pianists of past, like Zhukov, Ponti and no doubt others too; yes it can't compete with the grand Yamahas etc of today but had that special sound in the hands of a craftsman!
Only just spotted this. Yamaha? Are you kidding? I've yet to play one with an ounce of character. Fine for the concert hall, but always 2nd fiddle to Steinways. But for anything with character or feeling Bechsteins (and Bluthners and the old Broadwoods for that matter) still kick both out of the park.
@@mikehutton3937 Hi Mike. While I agree that lots of Yamaha pianos miss character, I currently own a wonderful Yamaha C3 from 1979 built by Japanese master craftsmen. A little gem.
What does "excessive femininity" mean to you in this case? I'm not questioning your opinion; I'm simply curious about why you chose those words, since "feminity" (in the context of music) might be due to great variance in its understanding, depending on the reader.
There are many great Scriabin interpreters, but this is unforgettable. The velvety tone of that piano.
4:21 RIP dearest friend - who played No.3 for me& gifted the music to me before he passed.
That is one hell of a tie.
I just discovered that he died in January 2018. Sad, but a great legacy.
Nothing like the sound of vinyl! I really like these interpretations. Beautiful independent right and left hand playing and just well thought out performances. There is a real consistency in this playing from prelude to prelude.
This set is a marvel, between Zhukov and Scriabin a perfect partnership!
Perhaps the best rendition of these Scriabin´s preludes out there. I think it´s the way Scriabin would approve and like.
is this the most perfect thing I've ever heard?
+Ben Harris-Folb Indeed!!
Yes indeed. Heard Zhukov live at Wigmore Hall many years ago. My favourite Scriabin pianist - especially in his Sonata!
@@fredrutter610 I was there too. People flew in from.all over the place to hear him
So I've listened to pretty much all recordings of the first of the Préludes available here, and this one towers over all others. I'm playing it myself right now, and I'm comparing how various pianists handle some of the challenges that I find in this piece.
First, the tempo. It's supposed to be 40 quarter notes per minute, which is slower than the piece feels to me and apparently to all pianists I've come across here. I don't know whether the tempo indication is by the composer himself or not, but I presume it is. Zhukov plays it at about 50, which is slower than all others I've heard (Sofronitsky is the fastest, I didn't clock him but it feels like 80).
Second, there is the question of what to do with the "inner voice" in the left hand. In most bars, there are three rising notes in the left hand indicated as a separate voice, to be played portato. This is easy to achieve when the right hand isn't playing, like in the first two bars. But when the right hand plays eighths or triplets, then it gets a bit messy when you over-accentuate the inner voice. Some pianists solve this by ignoring the inner voice whenever the right hand is playing anything faster than quarter notes. This cannot be the solution, since the score indicates otherwise. Zhukov does this beautifully - he softens the inner voice when the right hand is very "active" but brings it out in many places others don't, for example in bars 11 (0:47) and 13 (0:52) where the right hand only is indicated as pianissimo. Nobody else I heard does this. The effect is wonderful and true to the score.
Third, and this is related to both previous points actually, the ways he handles repeated notes is nothing short of spectacular. In some places, the same note is played twice in a row, once belonging to the right-hand melody, once to the inner voice. Bar 6 is such an place. When you play the piece too fast (my first point above) these repeated notes tend to sound like hiccups. That might be the reason why some pianists choose not to play the inner voice (my second point). But Zhukov solves it by slowing down a little bit before the repeated notes appear, thereby giving each note its place - the first one in the right hand melody, the second one in the inner voice. I listened to bar 6 (0:25) about 10 times in a row until I figured out what he was doing. His slowing down is so slight that you might not notice it, but it's just right to solve that awkwardness of the repeated notes. Incredible!
Fourth, there is the issue of how to get the full effect of the last two chords (2:28). The harmonic effect here is Wagnerian and needs to shine, but it's lost in most interpretations. It's tricky to achieve the full surprising effect of moving from C-major to B-major when the chords are played pp and ppp as indicated in the score. To be honest, I don't find Zhukov fully convincing here either, I'm missing the jaw-dropping effect of the harmonies, the OMG-moment. But honestly, that's the only fault I could find at all, and I haven't heard anyone do it better either.
My verdict: Wonderful interpretation, true to the composer's intentions, very deep understanding, and it's apparent he really feels the music.
Thanks Yoel! Really interesting to read your thoughts on these performances. I wish I could play the piano better!
Yoel Lax Thank you for your thoughtful, rich comments.
How did your work at these preludes go?
I don't know all the reasons why but yes I keep coming back to Zkukov's recordings of Scriabin in general as my favourite interpretations.
Very interesting. Did you hear the version of Evgeny Zarafiants ? I would be interested to have your opinion about this version
Most sublime performance! I’ve just written ‘Pure Delight’ (Op.1312), a poem inspired by Zhukov’s playing of Op.16 No.1. Will be continuing on to write for the next few preludes so I can complete the set. Part of my Scriabin Project for 2021! Happy New Year all - hope 2021 is a better year than 2020!
Pure Delight (Prelude Op.16 No.1)
a nonaku
©️ Sherry Grant (Op.1312)
pure
heavenly delight
pearly swan gliding
on ice, touching down
songs of harmony
from ancient
land
tricking sunlight with
a trail of sparkles
Written on 2020-12-31 at Auckland, New Zealand
Op.1312 🥶🥸
@@SCRIABINIST I just finished Op.3413… that was 2 years of poetry writing. By the way the Scriabin at 150 Online Festival I’m organising is going ahead in Nov 2022. I’ll post more about it soon…
what a discovery! truly a Scriabinist pur sang!
I'm rediscovering Zhukov after many years,with much pleasure,and thanks to your biographical note,learn more of his life.I had the impression of a rather unsubtle player,(Medtner&Balakirev concertos,Skriabin sonatas..)at that time,but here discover a very sensitive response to smaller Skriabin pieces,and the Bechstein helps paint so many lines&harmonies in clear,limpid colors.
.. is Emotional.. ✨🔺🎼🎧🎹🎶🎵🔺✨ to Listen.. ❤️✨✨ Thanks a lot.
Incredible phrasing, control of sound and depth of sincerity... Thank you so much for finding and sharing this record.
Simply extraordinary. Beside the general mastery and deep understanding of each piece, the pedal work of this pianist is matched only by a few of the caliber of Horowitz, Sofronitzky, Rachmaninoff, Lipatti.
thank you for uploading this video. didn't knew zhukov. wish i had this vinyl...
Magnificent, especially preludes 3 & 4 starting about 4:23 are angelic, such beauty have I rarely heard.
8:48 minutes of heaven!!!!!!
No. 3 has passages with the absolute feel of Black gospel piano of our day, like the descending R.H. chords with ascending L.H. octaves beginning around 5:25.
I think Zhukov has a lovely touch here and a fine feeling for the music (a few lapses in dynamic observance not withstanding).I particularly enjoyed the intimacy of No. 3.
Dieses kann spielen nur, wer im Lieben tief verwundet wurde.
This is such a touching performance. I’ll be listening to these preludes on loop and writing Zhukov (and Scriabin) a set of 5 poems... and attempt to make my own version in recording later... if possible I’ll publish a book of poetry (entirely written in my newly invented short poetry form) in 2021, with my own recordings to go with all the poems... my personal tribute to Scriabin’s 150th!
I previously did not realize how wonderful I.M. Zhukov's playing is - having listened to no more than a couple of works. However, in these Scriabin Preludes he musically caresses the keys with such care and understanding. Perhaps occasionally, rhythm might not quite convince, but now I want to hear more of his exquisite art.
Mon dieu quelle perfection...surnaturel
THANK YOU!!...
Merveilleux….
It´s so delicate like a Chopin´s nocturne...
Meraviglioso.
To me the Bechstein was the choice of the grand pianists of past, like Zhukov, Ponti and no doubt others too; yes it can't compete with the grand Yamahas etc of today but had that special sound in the hands of a craftsman!
Only just spotted this. Yamaha? Are you kidding? I've yet to play one with an ounce of character. Fine for the concert hall, but always 2nd fiddle to Steinways. But for anything with character or feeling Bechsteins (and Bluthners and the old Broadwoods for that matter) still kick both out of the park.
@@mikehutton3937 Hi Mike. While I agree that lots of Yamaha pianos miss character, I currently own a wonderful Yamaha C3 from 1979 built by Japanese master craftsmen. A little gem.
It sounds and smells of wood. Tone slightly muted, but still clear and with metal strength. Also very warm.
The good pianos: Steinway, Bluthner, Petrov, Boesendorfer, Baldwin...
schöne Aufnahme, danke!
Was für eine Feinsinnigkeit. Vinyl is unerreicht. Danke fürs Hochladen!
I voved this Dear
There is Scriabin, and then there is Zhukov playing Scriabin.
Ashkenazy-level Scriabin playing!
Un grande pianista!
Thanks...:)
1982 and this sound...such a pity.
💖
He manages to play with extraordinary delicacy without falling prey to excessive femininity. To me, the expression here is transcendent.
Today he is buried in Moscow. RIP
8:08 -- are there echoes from the future happening here??
Hi, is there any where to download this?
What does "excessive femininity" mean to you in this case? I'm not questioning your opinion; I'm simply curious about why you chose those words, since "feminity" (in the context of music) might be due to great variance in its understanding, depending on the reader.
I'd be interested to hear an example of this "femininity" you mention.