This is the story of Alice in Wonderland written in a wonderful mixture of exotic tonal colors, some playfully humorous and others diabolically insane. This pianist does a superb interpretation that transports one into and out of that crazy daydream. Bravissimo!!!!
Maybe it's best to classify later Scriabin (opera 53+) as "post-tonal," and less like the Schoenberg school than some other contemporaries, especially some of the later works of Debussy. At a time when diatonic polarity was losing its hold as a narrative force, Debussy and Scriabin developed other ways of holding a piece together, and it's interesting how they extended their deep admiration of Chopin to exploration of new potential in his "non-functional" harmonies--even subverting the conventional distinction between vertical and horizontal. I remember one critic who faulted Scriabin's later sonatas for being too static, not taking the listener from here to there. They are, admittedly, less distinctly melodic than motivic (also often the case with Beethoven, as it is--in a different way--with serialists). But there is a narrative shape to these sonatas, often signaled less by clear-cut extremes of harmonic tension and resolution than by other variables, whether dynamics, color, even a kind of developing variation. You have to tune into these pieces the same way you'd "follow" Debussy's "Jeux" or some of his etudes. When the opening materials are faintly re-echoed at the end of the 9th Sonata, it's not just a formulaic book-end; it's an arrival--at a point of no return.
It’s very interesting to compare the different versions #9, by Horowitz, to see how to get “here to there” in the rarified atmosphere Scriabin’s unique sound world ( of course Scriabin’s nod to Chopin, in early works). I love VH “manic” on-fire , shorter duration #9. I believe 1953 Carnegie Hall. If one follows the score, it’s all there. VH was on fire. Of course, it’s a special kind of A->B? journey. His slower version has different nuance. But wow!!! To have the skill to play like that. I’m an amateur, but a few Scriabin pieces are in my reach. YS plays well....love watching him with his children, also....RUclips offers a real opportunity to experience the joy of music previously inaccessible....
It's not "subjective" at all. Just because it is dissonant doesn't mean it necessarily is atonal. This music is perfectly tonal. Of course, it's not tonal in the traditional sense, but it definitely has a modality, and some sort of tonality.
Apart from his technical skill, he really has the gift of making the subtle logic of this complex music clear because he understands it from the inside.
I've read so many comments about this sonata here and both in Horowitz's and Sokolov's versions saying this is atonal? I just wanted to say I clearly hear tonal centres everywhere in this piece so I wouldn't call it atonal at all. Does anybody agree with me or am I losing my First Viennese School raised mind?
Yes, there are F dom 7 and a lot of other tonal chords but they don't serve as a center or base to the piece, so technically the piece is partially atonal/tonally unstable.
@cirro1 no, it's actually easy to memorize. The melodies repeat many times without any changes other than transposition and the chord shapes and accompaniment are very familiar to anyone who has played late Scriabin.
Did any of you read the essay about this piece?Complete with folks ingesting human fless and blood to get to the transcendence and while we're getting,get this Tolstoy,yes that Tolstoy drinking vodka laced with gun powder and congealed human blood.I thought it was all about Huysman's"La Bas'' Eliphas Levi,Papus and such.Fin de Sciecle and the end of the "Bell Epoque''
At the moment only 94 views. How is that possible? A very talented pianist. His BIS recordings are amazing! ----------------------------- Rolf, Netherlands. I am a collector of classical 78's and lp's Click "otterhouse" above to see (and hear!) some of my collection. (Gioconda de Vito, Berl Senofsky, Vlado Perlemuter, Carl Schuricht, Gina Bachauer etc)
The more I listen to this piece ,the more I realized that the way it should sound may exist only in my imagination. I also think that George Harliano is the one who could manage this force.I graduated conservatory with this piece, it puzzled me then and it puzzles me even more now.
Wonderful to hear gifted artists share their interpretations of the unique Scriabin sound world. Even some like Horowitz, opened different doors with different approaches to the same piece. I welcome these “open doors” (as long as not garish disrespect to composer & listener). I would be interested in a Glenn Gould or younger Pogorelich journey through this sonata. Younger Pollini...Argerich?...
Thank you for giving us the low-down on your history. NOW we know! Likely it is that you were then and are now meant to remain as "puzzled." Scriabin's later realm is not intended for the superficial/ego-bound. Understand?
@Sylvain894 There's actually a lot of melody, only they are not so easy to memorize like for instance Chopin. Listen to this piece like 10 times and you'll start to recognise them, and get ahold of their beauty. Really, trust me. At first the only thing I could hear was an atonal mess...
I prefer Yevgeny Sudbin than Sviatoslav Richter on this one. I don't care about the notes as someone claims. Notes are to serve emotions, especially here, so we are not supposed to execute like midi robots. Richter calms it down at some parts,also his finger games have happy tempo aliquots and not obscure tempo fade in, tempo fade out, tempo logarithmic increase tempo exponential tempo growth, also now replace tempo and add velocity. To make a scientific argument on a player, you can record him. and place MARKERS at the attacks, also ENVELOPE information for the behavior of notes, but you do that if someone is arrogant and needs to see scientifically measured attacks and envelopes analyzes, envelope is the range of oscillation, it is hard to seperate note by note, but there are methods to answer questions if you use quantum mechanics - brobabilistic math of wavefunction behavior, because simple frequencies analisis does not reveal the overall fractal of evolving harmonics through time of a real sound. I study real sound simulation, with simple harmonics and oscillations you cannot have a real sound, you need some fractal math, to let the wave evolve through time. I don't claim Richter is not good. This recording of Yevgeny Sudbin has noise and overlimitting distortion. Overlimitting = to record over the limit of non distorted sound, and that may be lower than the absolute end of bit depth, because you might "stress" your microphones to produce noise or even the digitizer even before the absolute distortion might not be as good as a bit lower
Lots of passion, very powerful interpretation! Don't like his pedalling too much tough; too muffled at times, so you can't hear all the beautiful harmonies. Otherwise very good!
I love the way he hunches over the keyboard like Dracula - suits the piece somehow!
This is the story of Alice in Wonderland written in a wonderful mixture of exotic tonal colors, some playfully humorous and others diabolically insane. This pianist does a superb interpretation that transports one into and out of that crazy daydream. Bravissimo!!!!
wtf Alice in Wonderland？？？？？？？？noob
Maybe it's best to classify later Scriabin (opera 53+) as "post-tonal," and less like the Schoenberg school than some other contemporaries, especially some of the later works of Debussy. At a time when diatonic polarity was losing its hold as a narrative force, Debussy and Scriabin developed other ways of holding a piece together, and it's interesting how they extended their deep admiration of Chopin to exploration of new potential in his "non-functional" harmonies--even subverting the conventional distinction between vertical and horizontal. I remember one critic who faulted Scriabin's later sonatas for being too static, not taking the listener from here to there. They are, admittedly, less distinctly melodic than motivic (also often the case with Beethoven, as it is--in a different way--with serialists). But there is a narrative shape to these sonatas, often signaled less by clear-cut extremes of harmonic tension and resolution than by other variables, whether dynamics, color, even a kind of developing variation. You have to tune into these pieces the same way you'd "follow" Debussy's "Jeux" or some of his etudes. When the opening materials are faintly re-echoed at the end of the 9th Sonata, it's not just a formulaic book-end; it's an arrival--at a point of no return.
It’s very interesting to compare the different versions #9, by Horowitz, to see how to get “here to there” in the rarified atmosphere Scriabin’s unique sound world ( of course Scriabin’s nod to Chopin, in early works). I love VH “manic” on-fire , shorter duration #9. I believe 1953 Carnegie Hall. If one follows the score, it’s all there. VH was on fire. Of course, it’s a special kind of A->B? journey. His slower version has different nuance. But wow!!! To have the skill to play like that. I’m an amateur, but a few Scriabin pieces are in my reach. YS plays well....love watching him with his children, also....RUclips offers a real opportunity to experience the joy of music previously inaccessible....
Sudbin maybe one of the greatest pianist of the 21st century
Amazing! both scriabin and subin ... this video really should have alot more views!
That has to be one of the best melodic motifs haha. It's like a dormant psychopath that expresses his range of moods.
Agreed. Playing this piece so well is a marvellous accomplishment for any pianist.
Love this interpretation! Fantastic job. Full of energy and artistry.
Among the most inspired pieces of piano literature. The dark forces of the Universe unveiled.
Black matter. Devilish seduction.
A great piece!
It's not "subjective" at all. Just because it is dissonant doesn't mean it necessarily is atonal. This music is perfectly tonal. Of course, it's not tonal in the traditional sense, but it definitely has a modality, and some sort of tonality.
Sublime!
Very very very good touch and voicing. Love YS Scriabin. (And many other composers).
Oh wow ... so good.
i was about to request an entire compilation of scriabin's sonatas and concertos based on this performance. it already exists. purchased.
Maravillosa Versión Bravo!!!!
Wonderful.
@basrare
Me too! And he was amazing indeed, I enjoyed every second of it despite the annoying coughs at moments.
Apart from his technical skill, he really has the gift of making the subtle logic of this complex music clear because he understands it from the inside.
outstanding interpretation of a complicated work. loved this.
4:17 That A dominant chord is so beautiful there.
nice...very good pianist
@otterhouse
Volgende week zondag is dit live te aanschouwen in het concertgebouw, wat kijk ik daar naar uit!
I've read so many comments about this sonata here and both in Horowitz's and Sokolov's versions saying this is atonal? I just wanted to say I clearly hear tonal centres everywhere in this piece so I wouldn't call it atonal at all. Does anybody agree with me or am I losing my First Viennese School raised mind?
It is dissonant, not atonal. Big difference.
yes, Scriabin didn't compose atonal music
Yes, there are F dom 7 and a lot of other tonal chords but they don't serve as a center or base to the piece, so technically the piece is partially atonal/tonally unstable.
LOL, this is awesome, it's tickling my brain......
@MoonTribe
I saw him yesterday @ the concertgebouw playing this. He was amazing!
ughhh. i have to exit this because i need to get back to practicing but i just cant turn it off!
@cirro1 no, it's actually easy to memorize. The melodies repeat many times without any changes other than transposition and the chord shapes and accompaniment are very familiar to anyone who has played late Scriabin.
Did any of you read the essay about this piece?Complete with folks ingesting human fless and blood to get to the transcendence and while we're getting,get this Tolstoy,yes that Tolstoy drinking vodka laced with gun powder and congealed human blood.I thought it was all about Huysman's"La Bas'' Eliphas Levi,Papus and such.Fin de Sciecle and the end of the "Bell Epoque''
@cirro1 It actually has a fair number of repeats of each cell (or theme), but Scriabin adds more layers each time, which makes more difficult.
Garrick Olsen Garrick Olsen! I'm a big fan🤗
That's an interesting video... the roses or leaves almost look black.
soberba obra e virtuosa interpretação
At the moment only 94 views. How is that possible? A very talented pianist. His BIS recordings are amazing!
-----------------------------
Rolf, Netherlands.
I am a collector of classical 78's and lp's
Click "otterhouse" above to see (and hear!)
some of my collection.
(Gioconda de Vito, Berl Senofsky, Vlado Perlemuter,
Carl Schuricht, Gina Bachauer etc)
im glad i found him :D 1013 views now! :D
No kitten on the keys
The more I listen to this piece ,the more I realized that the way it should sound may exist only in my imagination. I also think that George Harliano is the one who could manage this force.I graduated conservatory with this piece, it puzzled me then and it puzzles me even more now.
Wonderful to hear gifted artists share their interpretations of the unique Scriabin sound world. Even some like Horowitz, opened different doors with different approaches to the same piece. I welcome these “open doors” (as long as not garish disrespect to composer & listener). I would be interested in a Glenn Gould or younger Pogorelich journey through this sonata. Younger Pollini...Argerich?...
Thank you for giving us the low-down on your history.
NOW we know!
Likely it is that you were then and are now meant to remain as "puzzled."
Scriabin's later realm is not intended for the superficial/ego-bound. Understand?
is there a recording of the White mass sonata played by him by chance?
White mass is much harder compared with this
@Sylvain894 There's actually a lot of melody, only they are not so easy to memorize like for instance Chopin. Listen to this piece like 10 times and you'll start to recognise them, and get ahold of their beauty. Really, trust me. At first the only thing I could hear was an atonal mess...
I prefer Yevgeny Sudbin than Sviatoslav Richter on this one.
I don't care about the notes as someone claims.
Notes are to serve emotions, especially here,
so we are not supposed to execute like midi robots.
Richter calms it down at some parts,also his finger games
have happy tempo aliquots and not obscure tempo fade in, tempo fade out, tempo logarithmic increase tempo exponential tempo growth, also now replace tempo and add velocity.
To make a scientific argument on a player, you can record him.
and place MARKERS at the attacks, also ENVELOPE information
for the behavior of notes, but you do that if someone is arrogant
and needs to see scientifically measured attacks and
envelopes analyzes,
envelope is the range of oscillation,
it is hard to seperate note by note, but there are methods
to answer questions if you use quantum mechanics - brobabilistic
math of wavefunction behavior, because simple frequencies analisis
does not reveal the overall fractal of evolving harmonics through time
of a real sound. I study real sound simulation, with simple harmonics
and oscillations you cannot have a real sound, you need some fractal math,
to let the wave evolve through time.
I don't claim Richter is not good.
This recording of Yevgeny Sudbin has noise and overlimitting distortion.
Overlimitting = to record over the limit of non distorted sound,
and that may be lower than the absolute end of bit depth, because you might "stress" your microphones to produce noise or even the digitizer even before the absolute distortion might not be as good as a bit lower
5:58
Again, not in the traditional sense. The music doesn't have a specific key, but it definitely has a center.
pourquoi ? tu entends quoi par là ?
Lots of passion, very powerful interpretation! Don't like his pedalling too much tough; too muffled at times, so you can't hear all the beautiful harmonies. Otherwise very good!
Psychotic, as it should be =)
c'est... original :p
lol