Alexander SCRIABIN (1872-1915)
Symphony No. 1 in E major, Op. 26 (1899/1900) [50.08]
Symphony No. 2 in C minor, Op. 29 (1901) [41.01]
Ekaterina Sergeeva (mezzo-soprano), Alexander Timchenko (tenor)
London Symphony Chorus (Simon Halsey: chorus director)
London Symphony Orchestra/Valery Gergiev
rec. live, 30 March (1) and 10 April (2) 2014, Barbican Hall, London, UK
LSO LIVE SACD LSO0770 [50.08 + 41.01]
Last year the album of Scriabin Symphonies 3 and
4 from the London Symphony Orchestra (LSO) under Valery Gergiev was
my 2015 ‘Record of the Year’ (review).
Just arrived is this new LSO-Live release of Scriabin’s first two symphonies,
both early works written during a period he spent teaching at the Moscow Conservatory.
Prior to the Symphony No. 1 in E major Scriabin in his composing
career had mainly written only piano pieces, heavily in the style of Chopin,
and in 1898 a short orchestral work Reverie, Op. 24. Another example
of early Scriabin, the generously proportioned six movement First Symphony,
inhabits the style of Liszt and Wagner rather than that of fellow-countryman
Glinka, founder of the Russian nationalist school. In 1900 when the conductor
Anatoly Liadov introduced the work to a lukewarm reception, the final movement
with chorus and two vocal soloists was omitted. A work, overflowing with fascinating
and inventive ideas, Gergiev ensures that the agreeable surface warmth has
an undertow of melancholy. Right from the opening movement Lento,
Gergiev’s ideal tempi maintains a glorious wash of sound and develops
a tense and perplexing sense of awe. Especially remarkable are the weight
and intensity of the Allegro drammatico beautifully developed, feeling
like a slowly gathering storm. In the penultimate movement Allegro,
the recurring romantic theme combines with the waves of surging passion to
striking effect. Reminding me of the comparable closing movements in Liszt’s
Dante and Faust symphonies, the extravagant choral Finale
contains some lovely expressive singing from mezzo Ekaterina Sergeeva and
tenor Alexander Timchenko, exalting the eternal glory of art. Sounding impressive,
the conclusion with the combination of the soloists and excellent London Symphony
Chorus is remarkably stirring.
Less than a year after the First Symphony Scriabin completed his
Symphony No. 2 in C minor. Here Scriabin is endeavouring to stretch
the traditional style of composition and developing a more individual style.
Cast in five movements the première of the Second Symphony under
Liadov in Saint Petersburg had a mixed reception with jeering by some of the
audience. The overall mood of the work doesn’t feel too far removed
from the First Symphony with Gergiev underlining the squally character
of surging passion. Memorable is the penultimate movement marked Tempestoso,
evocative of enormous waves lashing sheer cliffs in a fierce storm and the
celebratory Finale is Scriabin at his most agreeable and generous.
In the catalogue there are two excellent recordings that have proved popular
for a couple of decades with Scriabin collectors. First the Philadephia Orchestra
under Riccardo Muti recorded in 1986/91 at Memorial Hall, Philadelphia on
EMI and reissued on Brilliant Classics. In the choral movement of the First
Symphony Muti’s soloists are Stefania Toczyska (mezzo), Michael
Myers (tenor) augmented by the Westminster Choir. Another desirable set has
Vladimir Ashkenazy conducting the Deutsches Sinfonie-Orchester, Berlin, recorded
in 1994/95 on Decca. In the First Symphony Ashkenazy is joined by
Brigitte Balleys (mezzo), Sergej Larin (tenor) and Rundfunkchor Berlin.
Both symphonies were recorded by the LSO in 2014 at live concerts at Barbican
Hall. Played on my standard player this Hybrid SACD contains sound as detailed
and satisfying as one has come to expect from this label. I can report that
sung Russian texts are provided with an English translation and Andrew’s
Huth’s programme notes are highly informative, too. With the LSO the
insightful Gergiev has charge of a world class orchestra, performing with
a tremendous passionate sweep, with playing from all departments that is never
short of glorious. Gergiev is more than a match for the recordings from the
best of the well established competition.
Michael Cookson
Previous review:
Dan Morgan
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