Scriabin-Symphony No. 2/Poem of Ecstasy

Editorial Reviews
Album Description
One of the greatest creations of Scriabin – "Poem of Ecstasy", Op. 54, was composed in 1907 in Lausanne. In the heroic, thrilling pathos of the poem we can feel the pre-storming mood of Russian life at the beginning of the century.

Tracks:

The Rite Of Spring, Part I: The Adoration Of The Earth: Intro
The Rite Of Spring, Part I: The Adoration Of The Earth: Augurs Of Spring - Dances Of The Young...
The Rite Of Spring, Part I: The Adoration Of The Earth: Ritual Of Abduction
The Rite Of Spring, Part I: The Adoration Of The Earth: Spring Rounds
The Rite Of Spring, Part I: The Adoration Of The Earth: Ritual Of The Rival Tribes
The Rite Of Spring, Part I: The Adoration Of The Earth: Procession Of The Sage
The Rite Of Spring, Part I: The Adoration Of The Earth: The Sage
The Rite Of Spring, Part I: The Adoration Of The Earth: Dance Of The Earth
The Rite Of Spring, Part II: The Sacrifice: Intro
The Rite Of Spring, Part II: The Sacrifice: Mystic Circles Of The Young Girls
The Rite Of Spring, Part II: The Sacrifice: Glorification Of The Chosen One
The Rite Of Spring, Part II: The Sacrifice: Evocation Of The Ancestors
The Rite Of Spring, Part II: The Sacrifice: Ritual Action Of The Ancestors
The Rite Of Spring, Part II: The Sacrifice: Sacrificial Dance: The Chosen One
The Poem Of Ecstasy, Op.54

Amazon.com

Gergiev's is a Rite of Spring with a difference. He stresses the primitive barbarism of Stravinsky's groundbreaking score--the strange wheezings of the winds, the wild yawps of the tubas, and the deep rumblings of the bass drum. It's a Rite that stands out at a time when so many internationalized western orchestras give the piece an overlay of sophisticated polish that can rob it of the shock factor that drove the audience at the Paris premiere to riot. There are also numerous personal touches that can be controversial, such as the pause before the final chord, which may bother some but which work in the context of the interpretation. Gergiev's Rite faces strong competition from recorded versions by Markevitch, Dorati, Monteux, and Stravinsky himself, but it's definitely among the top choices. The Scriabin's less compelling, though still fascinating. Gergiev's approach tends to sound sectional, as the overall line is subordinated to momentary thrills. --Dan Davis

Customer Reviews:

A major boo boo in the Scriabin.......2007-01-30

I have been visiting the review page for this CD for some time waiting to see if someone noticed the same mistake I did. Gowdie's review has got it right. The error immediately ruined the experience of the entire Poem Of Ecstacy for me. The lilting strings (E to D#)which cry amongst the harp is to me one of those magic moments in all of classical music. What an awesome following to the build up and it also sets up the big finale.

Sorry, the Stavinsky may be great but, a mistake such as this warrants a three star deduction.

The Pinnacle .......2006-12-14

This is it -- if you are looking for a "perfect" 'The Rite of Spring', you owe it to yourself to buy this cd -- especially if you have a reference audio system. It will blow your socks off.

Deserves a "10" star rating.

A wild ride, and a sonic spectacular.......2006-09-21

Gergiev clearly aims to bring back the visceral impact of Le Sacre, and he is aided by extremely clear, detailed sonics that pull us directly into the texture of the orchestration. Sheerly in terms of the noises coming out of one's loudspeakers, this performance rivets the listener's attention. The impact of the bass drum, tam tam, and tuba, for example, is unprecedented. Gergiev has other cards up his sleeve. He re-invents Stravinsky's cross-rhtyhms, ever so slightly throwing off one's expectations. Sometimes this happens through minute pauses and underlinings, sometimes by raising and lowering the temperature unexpectedly. The softer passages sound nuanced and sophisticated, the barbaric ones deafeningly loud and assaultive.

The overall effect is intriguing, so I must agree with every reviewer who praises Gergiev for finding his own way. At the same time, however, there's an air of too much study, of mannered phrasing for its own sake. Every listener will have to decide for themselves, but personally, this sonic spectacular doesn't propel me forward the way Bernstein and Markevitch do in their classic recordings.

Exiting, but flawed........2006-07-19

Valery Gergiev is indeed one of the best conductors around now. He has a charisma that makes any orchestra soar. That being said, despite the power and exitment involved in this performance of "The Rite of Spring" I'm afraid there are major flaws that have to be mentioned.
In the "Dance of the Earth" section, the percussionist is lost as his entrances with the Tam-tam are out of place with the rest of the orchestra. This is no small mistake, since the Tam-tam is supposed to be unison with the rest of the orchestra. How this error was not discovered before release is something I wont fully understand. I don't fully agree with Gergiev's general concept of having the quieter parts louder than normal. It takes a lot away from the building of tension in a section. But overall, it's an exiting performance.
Alexander Scriabin's "The Poem of Ecstasy" fares well here. Passionate playing from the strings of the Kirov. But even here there's a major editing flaw. During the quiet last pages of the work, for some reason, a measure of the longing violins playing E into D# was accidentaly omited from this performance. This mistake is not too hard to make since it is a repitition of two other measures around it. I've made simular mistakes myself as a recording producer, but I've always corrected it by listening to the whole thing with a score prior to doing a final mix. It appears that this has not been done here.
Despite these major flaws that clearly get in the way (at least for me), this is a distinctive version of these two great works.
Valery Gergiev certanly makes his mark.

Hold me back!.......2006-05-08

Some [unintelligeble] years after my classical music lessons, and the vague promises to teachers and friends to keep literate thereafter, I find myself here writing a review for this mesmerizing Ossetian I've been chasing around on search engines since accidentally finding myself at a performance of his (a delightful experience, if ever there was one). What to say? First of all, I did grow up with the Dorati Rite (after all, I'm a Motown girl), which is much less jarring, but jarring appears to be the point, here. There's a good long range from ppp to fff and it sometimes come where you least expect it. Also, Valery Abisallivitch is no slave to time. Not only is the pause before the final slash during the "sacrifice" legendary, but there are several places during that last dance and in the Dance of Young Girls in the beginning when I could swear the beat comes just a hair close to syncopation. On the other hand, the opening movements of Gergiev's Rite appear so fresh, so clear, one can see and smell the trees, brooks, foliage....the live recording no doubt helps convey this.

As I, a layperson who does love classical music, try to understand what Gergiev does differently, I think it's this... he has an exuberant passion for the music, and especially for the Kirov, the family with whom he grew up, he is able to coax his musicians' passion for it in some kind of extraordinary way. Maybe especially with this Russian composer who has created something so close to the land they all call home.

Decca Recordings, 1965-1972 (Limited Edition)

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Stokowski in Phase 4 land, Vol. 1
Stupendous Stokowski

Decca Recordings, 1965-1972 (Limited Edition)

Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Original Masters: Leopold Stokowski: Decca Recordings 1964-1975 [BOX SET]
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Dvorak: Symphony No7;Symphony No8;Symphony No9

ASIN: B0000B0A0P
Release Date: 2003-11-25

Customer Reviews:

Stokowski in Phase 4 land, Vol. 1.......2006-09-22

Decca has pulled a lot of Stokowski's gaudy Phase 4 recordings off the market so that they can reappear in this box set, but the company had already licensed many out to another label, Cala, that specializes in all things Stokowski. So if you pick and choose, you can buy your favorites recordings individually with a little effort. Of the two volumes in the Original Masters series, this one is the more interesting musically.

For one thing, it features two of the conductor's great strengths: his incomparable Bach transcriptions (no one else performs them with the same total commitment) and his Debussy and Ravel. Admittedly, this La Mer and Daphnis and Chloes have been multi-miked within an inch of their lives, and neither represents Stokowski as wonderuflly as his EMI Debussy collection, but if you love the old magician, you'll love these readings.

Aslo very appealing are the Enigma Variations, which Stokowski recorded only once, and the Franck D minor Sym., though don't expect world-class execution in either case. Stokowski championed early Messiaen in l'Ascension, and here is his last version, along with a swooning and seductive Scriabin Poeme d'Extase.

You have to adore recorded excess to swallow this Symphonie fantastique and Firebird, both gorgeous in a kind of Las Vegas neon billboard sort of way. But for geneations of listeners, that's what Stokowski is all about. What he's not about, sadly, is the wretchedly eccentric and nearly unlistenable Tchaikovsky Fifth Sym., the only performance in this whole set that made me hold my nose.

In all, thee are enough goodie here to justify buying the whole box, unless you want to pick and choose, in which case turn to Cala's excellent reissues.

Stupendous Stokowski.......2004-03-30

This five disc box set featuring the Decca Recordings (1965-72) of conductor Leopold Stokowski is among the latest batch of releases in the limited edition "Original Masters" series. While parts of this particular collection have been available on CD in the past (in the old "Phase 4" and "Weekend Classics" series), some of this material is being made available for the first time internationally. Those performances include Franck's Symphony (Hilversium RPO, 1970), Elgar's Enigma Variations (Czech PO, 1972), Ravel's "Fanfare" (Hilversium, 1970) and Messiaen's "L'Ascension" (London SO, 1970). Other highlights include an entire disc (CD1) of Stokowski's Transcriptions, and a delightful reading of Berlioz's "Symphonie Fantastique" with the New Philharmonia Orchestra from 1968. In all, another great set in the "Original Masters" series.

Average customer rating:

Fantastic Symphony No. 3
PARTIAL REDEMPTION
Great overall

Scriabin: Complete Symphonies

Manufacturer: Decca
ProductGroup: Music
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Complete Piano Works of Scriabin
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ASIN: B00009OOJT
Release Date: 2003-08-12

Customer Reviews:

Fantastic Symphony No. 3.......2006-01-07

I have all Scriabin's symphonies, but his third is by far my favorite. It is a work of such grandeur and power. The brass section of the orchestra is truly put to the test and pushed to the limits in this work. The reoccuring theme that is heard at the very beginning of the work is heard all throughout the whole symphony and remains a very prominant force in the work.

I have to say that this symphony is one of my absolute favorities and one of the finest ever written. The final movement is especially amazing, with the final bars culminating in one of the most fantastic codas to anything I have ever experienced in symphonic music.

I highly recommend this recording. If you are unfamiliar to Scriabin, do yourself a favor and get acquainted. You'll find his music and this symphony some of the most moving music you'll ever have the pleasure of hearing.

PARTIAL REDEMPTION.......2005-12-05

If Scriabin is an acquired taste, it's a taste that I acquired very easily. Like certain composers (e.g. Schoenberg) and unlike certain others (e.g. Rachmaninov) whose careers cover the late 19th and early 20th centuries, his idiom changed fairly drastically in the process. In Scriabin's case this change did not amount to a complete abjuration of the late romantic idiom, but well before his untimely death he had ceased to ascribe 'keys' to his works and had also stopped dividing them into separate movements in the traditional way, something Schoenberg always clung to. He took himself quite unbelievably seriously, developing a mission to redeem mankind through art. That sort of thing, like the similar aspirations of Shelley and Coleridge, seems hokum to me, but hokum whose results I happen to enjoy. I also sympathise entirely with his yearning, expressed in connexion with the 3rd symphony, for '...the evolution of the human spirit...torn from an entire past of beliefs and mysteries which it surmounts and overcomes...' Progress in this respect still seems deplorably slow and prone to relapse, and I sense that creative artists have lowered their sights to some extent in terms of what they think they can achieve along these lines.

The title of this set 'Complete Symphonies' seems to me a good one. Of the five main works here the first three bear the name of 'symphony', and the Poeme de l'Extase was conceived under the same title and intended at first to be in four movements, but by now Scriabin's imagination was taking leave of terra firma. When the work appeared in 1907 it was heralded by a 'philosophical programme' in verse, and its title is of course 'Poem'. If it is a symphony in some sense, then so is the final Prometheus - the Poem of Fire. This not only abandons the standard symphonic division into movements but envisages a wordless chorus, an obbligato piano part and even some kind of magic lantern that he wanted to project specified colours into the audience. The first performance of the work, in Moscow in 1911, lacked this colourful feature, a lack rectified at a performance in New York in 1915, the year of Scriabin's death. As for the harmony, it is roughly as radical as that of Delius.

In addition to the symphonies this set provides two earlier works, the piano concerto and a short Reverie. These, and the first symphony, are very traditional in idiom, and none the worse for that I'd say. The second symphony is a little bolder, but the real adult Scriabin first appears in the third symphony which is on the third disc of the set. The recording dates from several years earlier than the other two discs, but it seems to me much more satisfactory. The earlier discs are not badly recorded to be sure, but the sound lacks presence and vividness. The volume level is on the low side, but while turning it up improves matters a little it doesn't solve the basic problem - after a point it is just too loud and the sound is still not what Scriabin quite needs. I compared my vinyl set of the two Poems from Ormandy, and the difference in sound-quality in the Poeme du Feu on disc 1 is startling. There is still a difference when it comes to the Poeme de l'Extase on disc 3, but it is not so great, and it is less attributable to the recording. It points up, I think, some characteristics of the conductor.

As well as the two Poems, my collection of Scriabin contains quite a fair selection of his solo piano works, played by Horowitz, Richter, Ogdon, Gould - and Ashkenazy. Of these performances I like Ashkenazy's the least by quite a long way, because I have always found too much of his playing to be just a bit ordinary. When it came to listening to him in his latter-day incarnation as a conductor, I admit I underwent the process with some suspicions. These were founded on my previous experience of him as an interpreter even in his prime, but also caused by some scepticism regarding retired soloists finding a new career as conductors. Beecham, Toscanini and Karajan had a mission from the outset to be conductors. They went into the business when young, and they knew not to underestimate what it required. Elderly gentlemen taking the baton up as a sunset career will be treated doubtless with the respect due to their erstwhile eminence, but I wouldn't expect great things from them, nor do I find great things here. The difference from Ormandy shows markedly even in the Poeme de l'Extase. There is simply far more refinement, subtlety and sheer quality in Ormandy's account, and the recording, from sometime in the 70's, is actually better too, even on vinyl. The gap is even greater in Prometheus, affecting in particular the piano part from Peter Jablonski, given a recorded sound that is too discreet by half or more than half. This young player gets a fairer opportunity in the concerto, an attractive early work which he performs with aplomb and distinction. The first two symphonies and the Reverie are attractive too, and having nothing to compare them with I was consequently less critical.

In fact you will get very fair performances of Scriabin in general here, just not 5-star ones. The production is admirable in many ways, with the pieces sequenced with some imagination rather than in strict order of composition. The liner-note takes them in that order, and sensibly so, and it is a very sound and helpful production from Andrew Huth. I have no regrets at all about purchasing this interesting set, and I have given honesty and balance my best shot in the foregoing opinions.

Great overall.......2005-08-29

The Sym #3 in this set is awesome. The sound quality is excellent and the performance brings out so many details in this huge over-the-top work.

The other syms are well done too, but #3 is Scriabin's masterpiece so what really matters, in my view...

Scriabin - Symphonies Nos.1-3 · Le Poème de l'extase · Promethée, le poème du feu / Stefania Toczyska · Michael Myers · Dmitri Alexeev · Riccardo Muti

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I like Ashkenazy better!

Scriabin - Symphonies Nos.1-3 · Le Poème de l'extase · Promethée, le poème du feu / Stefania Toczyska · Michael Myers · Dmitri Alexeev · Riccardo Muti
Alexander Scriabin , Riccardo Muti , and The Choral Arts Society of Philadelphia The Philadelphia Orchestra
Manufacturer: Angel Records
ProductGroup: Music
Binding: Audio CD

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Tracks:

Sym No.1 in E, Op.26: I. Lento
Sym No.1 in E, Op.26: II. Allegro Drammatico
Sym No.1 in E, Op.26: III. Lento
Sym No.1 in E, Op.26: IV. Vivace
Sym No.1 in E, Op.26: V. Allegro
Sym No.1 in E, Op.26: VI. Andante - Stefania Toczyska/Michael Myers/The Westminster Chor/Joseph Flummerfelt

Tracks:

Sym No.2 in c, Op.29: I. Andante -
Sym No.2 in c, Op.29: II. Allegro
Sym No.2 in c, Op.29: III. Andante
Sym No.2 in c, Op.29: IV. Tempestuoso
Sym No.2 in c, Op.29: V. Maestoso
Le Poeme De L'Extase, Op.54 - Frank Kaderabek

Tracks:

Sym No.3 in c, Op.43 'Le Divin Poeme': I. Intro: Lento: Divin, Grandiose - Luttes: Allegro...
Sym No.3 in c, Op.43 'Le Divin Poeme': II. Voluptes: Lento: Sublime - Vivo: Divin Essai
Sym No.3 in c, Op.43 'Le Divin Poeme': III. Jeu Divin: Allegro: Avec Une Joie Eclatante
Promethee, Le Poeme Du Feu, Op.60 - Dmitri Alexeev/The Choral Arts Society Of Philadelphia/Sean Deibler

Customer Reviews:

I like Ashkenazy better!.......2005-01-11

Muti is great with his Philadelphia Orchestra. The recordings are high quality, but at times can get digitally distorted in the climaxes. The interpratations have a strength and expansiveness. But I still give Ashkenazy my top recommendation on the wonderfully bargin priced Trio label. He tops Muti threefold in his power, profundity, and energy! Plus the digital sound beats is clearer and more realistic than on Muti's set.

Scriabin was a Theosophist, who studied the works of Madamme Blavatsky (great female mystic). His works come from a place of spirituality and mysticism. His are inspired by the worlds religions from a esoteric approach. I can only compare his musical sound world to Franz Schmidt or Cyril Scott. Scriabin's music is on the verge of atonality, very modern sounding for the early 1900's. He took on the philosophical views of Wagner and expanded upon them, trying to create a new artform, which he didn't fulfill due to his untimely death. Look for the recording of Scriabin's "Preparation for the Final Mystery" on Decca also conducted by Ashkenazy.

Scriabin's 5 symphonies open the door to much inspiration on Nature and the Divine. There is no doubt that you can only gain by listening to Scriabin. Muti is a great start, but Ashkenazy totally understands Scriabin!

Scriabin: Symphonies 2, 3 and 4 (Poem of Ecstasy)

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The 2nd Symphony is the star here
A so-so 2nd is made to shine

Scriabin: Symphonies 2, 3 and 4 (Poem of Ecstasy)

Manufacturer: Chandos
ProductGroup: Music
Binding: Audio CD

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ASIN: B00000IM6S
Release Date: 1999-04-13

Tracks:

The Poem Of Ecstasy, Op.54 - Adolph Herseth
I. Andante-
II. Allegro
III. Andante
IV. Tempestoso-
V. Maestoso

Tracks:

Lento-
Luttes: Allegro-
Voluptes: Lento-
Jeu Divin: Allegro
Reverie, Op.24

Amazon.com

Never one lacking a big vision, Alexander Scriabin also never lacked a big ear for big sound. His orchestral works are massive, both in structural scope--where their rhythms almost burst the bubble frequently--and instrumental size. This collection of the Second and Third Symphonies is a wonderful restorative work, showing with blazing heat (on the Second) how well Scriabin could command an orchestra. The clashes are big, the crescendos bigger, and the whole affair is like a harmonious thunderclap that keeps happening. The Poem of Ecstasy and Reverie that open and close the book on this two-CD set are heavily motivic, the first presenting lots of smaller fragments that recur in their construction of the whole piece, and the second a brief and restrained miniature. What one hears across these pieces is the composer's climbing vision, which investigates a more measured set of contrasts in the Third Symphony but never gives an inch on the big idea behind the music, which in short mixed the existentialism of the late 19th century with the mysticism of Madame Blavatsky and others. Sure, it's a mouthful as philosophy, but as music, it's an even bigger, funner earful. --Andrew Bartlett

Customer Reviews:

The 2nd Symphony is the star here.......2007-06-13

If you like your Scriabin unfussy, Jarvi's your man. Let's start right out by saying that the Symphony #3 (Divine Poem) and #4 (Poem of Ecstasy) are well-done. But you can get many other commendable readings of these works. No, the real stunner here is the 2nd Symphony. Scriabin himself professed a dislike of this work because he claimed too much of his inner thinking was revealed in the score (I guess he preferred to be inscrutible). In most performances, the piece does come off as rather perfunctory and even uninspired. Not here. The conductor builds the tension and the momentum throughout each section of the score, culminating in a truly shattering Scherzo that then segues into the last movement. In the hands of many conductors, the final movement comes across as empty rhetoric, but Jarvi turns it into an absolute triumph. The Scottish National Orchestra delivers an extraordinary reading that's extremely polished while at the same time being viscerally exciting. Jarvi's is most definitely the version to have of this symphony -- you can pass over Muti, Semkow, Svetlanov, Inbal, Ashkenazy and any number of others who are just also-rans in this repertoire.

A so-so 2nd is made to shine.......2001-02-25

I haven't heard this entire album. But recently, I heard its 2nd Symphony played on the radio, so my comments apply to the 2nd Symphony only. Bear that in mind. I'm a fan of Scriabin's piano music. I've heard his 2nd Symphony a couple of times over the past two decades, but it never stuck in my mind. I thought his first two symphonies didn't have much to offer. But this performance of the 2nd puts me on notice that Scriabin had progressed significantly since his 1st. It took Järvi's powerful rendition of this symphony to make me realize that it's a truly worthwhile work. I can still tell that the symphony is far from a great work. It's just O. K. But Järvi and his old band the SNO are so very adept at bringing out the best of what the 2nd has to offer that I couldn't help being impressed by Scriabin. I now see how much he had progressed since his routine and uninspired 1st Symphony. Scriabin had matured as a symphonist. But it took Järvi to make me realize it. This interpretation is in a solidly romantic vein, which feels appropriate. But occasionally, we sense Scriabin's growth toward his unique, advanced harmonics which came later. This is a work that deserves to be heard more often, but only a performance like Järvi and the SNO give here can make the work truly effective and appreciated. It reminds me again how fortunate we are in southeast Michigan to have Järvi in Detroit.

Scriabin: 3 Symphonies & Le Poème de l'extase/ Ashkenazy

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The greatest but......
Definitive Performances Of Scriabin's Orchestral Music
Magnificent!

Scriabin: 3 Symphonies & Le Poème de l'extase/ Ashkenazy
Alexander Nikolayevich Scriabin , Berlin Radio Symphony Orchestra , Vladimir Ashkenazy , Brigitte Balleys , and Sergej Larin
Manufacturer: Decca
ProductGroup: Music
Binding: Audio CD

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Horowitz Plays Scriabin

ASIN: B000040OX4
Release Date: 2000-02-08

Tracks:

Le Poeme de l'extase, Op. 54
Symphony No. 2 In C Minor, Op. 29: Andante
Symphony No. 2 In C Minor, Op. 29: Allegro
Symphony No. 2 In C Minor, Op. 29: Andante
Symphony No. 2 In C Minor, Op. 29: Tempestoso
Symphony No. 2 In C Minor, Op. 29: Maestoso
Symphony No. 1 In E Major, Op. 26: Lento
Symphony No. 1 In E Major, Op. 26: Allegro dramatico

Tracks:

Symphony No. 1 In E Major, Op. 26: Lento - Rundfunkchor Berlin
Symphony No. 1 In E Major, Op. 26: Vivace - Rundfunkchor Berlin
Symphony No. 1 In E Major, Op. 26: Allegro - Rundfunkchor Berlin
Symphony No. 1 In E Major, Op. 26: Andante - Rundfunkchor Berlin
Symphony No. 3, Op.43 'Le Divin Poeme': Introduction
Symphony No. 3, Op.43 'Le Divin Poeme': Luttes
Symphony No. 3, Op.43 'Le Divin Poeme': Voluptes
Symphony No. 3, Op.43 'Le Divin Poeme': Jeu divin

Customer Reviews:

The greatest but.............2003-10-17

This set is amazing in every way, but get the new Ashkenazy 3-CD set released from Decca's TRIO label. It contains the 3 symphonies, the poem of exctasy, prometheus, the piano concerto, and the reverie! I bought it new from my local HMV for $11.99!!!
By far the best Scriabin I've heard besides the Muti! Ashkenazy really knows, understands and loves Scriabin's music. Plus the recorded digital sound is superlative.

Definitive Performances Of Scriabin's Orchestral Music.......2002-02-27

Vladimir Ashkenazy leads the Radio Symphony Orchestra of Berlin (recently renamed the Deutsches Symphonie Orchester Berlin) in these revelatory performances of Scriabin's orchestral music. These are passionately warm performances, especially of the "Poem Of Ectasy". Ashkenazy steers a fine middle course between technical perfection and excessive emotion, yet leads his orchestra in one brilliant performance after another. To his credit, Ashkenazy's interpretation of the "Poem Of Ectasy" isn't as dramatically intense as a Kirov Orchestra performance conducted by Gergiev that I heard a few months ago at New York City's legendary Carnegie Hall; somehow I sensed that Gergiev was losing control of his forces, especially the Brass section. Here, Ashkenazy does a splendid job keeping his forces in check, so that the brass section doesn't overwhelm the rest. The sound quality is absolutely impeccable.

Magnificent!.......2001-03-31

The Western world has had an estranged relationship with Alexander Scriabin. During the Russian composer's life he performed throughout Europe to critical acclaim. His mystical, exotic themes and passionate symphonies swept up audiences in Germany, France and even sober-minded England. So why has the legend of Scriabin faded?

Perhaps we can look to Scriabin's work itself for answers. `Le poème de l'extase' and `The Divine Poem', in particular, best represent Scriabin's use of surreal subject matter and unusual instrumentation to illustrate his unusual vision. The selected works do not present themselves to the listener - they swim, swirl, entice and ultimately confront the listener's senses. Scriabin believed in a holistic approach to composing and listening to his symphonies was never meant to be a passive experience. Scriabin was interested in esoteric cultural themes, Eastern philosophy, Russian patriotism, Nietzschesque explorations, mysticism and the "heightening of the senses through music". While Scriabin's exhaustive list of interests and often (seemingly) conflicting influences saturated his work, he manages to orchestrate and organize these volatile themes into comprehensive, powerful symphonic offerings. Quite simply, no composer before or since has been able to mold so wide a variety of themes into a single motif - and make it work.

Criticism of Scriabin's work was never unduly harsh. The most common critique from Western audiences has always been that Scriabin's work seems "foreign" or "bizarre and surreal". Russian audiences easily embrace Scriabin and in many ways he is considered one of their best kept national secrets. After Scriabin's death his work largely faded in the eye of the Western world, perhaps because Scriabin had no heir or champion in the Western world - no musical mind to adopt and expand upon his ideas. He swept across Europe like a storm, and seemed to disappear as quickly as he came.

Within the last 25 years, the Western world has been slowly reintroduced to Alexander Scriabin. European and American audiences, perhaps because of curiosity or expanding tolerance, seem eager to dive into Scriabin's music and explore the robust and eccentric themes that fueled his work. The 3 Symphonies offered here under the leadership of Vladamir Ashkenazy and performed by the Deutsches Symphonie Orchester in Berlin, are brilliant, dazzling readings of Scriabin's work. Ashkenazy captures Scriabin in all his fury and passion and spurs the musicians onto greater and greater heights.

Tracks:

Andante
Allegro
Andante
Tempestoso
Maestoso
Poem Of Ecstasy

Album Description

One of the greatest creations of Scriabin - "Poem of Ecstasy", Op. 54, was composed in 1907 in Lausanne. In the heroic, thrilling pathos of the poem we can feel the pre-storming mood of Russian life at the beginning of the century.

Alexander Scriabin: Complete Symphonies/Poème de l'extase, Op 54

Average customer rating:

Pretty good

Alexander Scriabin: Complete Symphonies/Poème de l'extase, Op 54

Manufacturer: Philips
ProductGroup: Music
Binding: Audio CD

General | Symphonies | Classical | Styles | Music

Modern & 20th Century | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music
ASIN: B0000041F7
Release Date: 1996-11-19

Tracks:

Symphony No. 1 In E, Op. 26: 1. Lento
Symphony No. 1 In E, Op. 26: 2. Allegro dramatico
Symphony No. 1 In E, Op. 26: 3. Lento
Symphony No. 1 In E, Op. 26: 4. Vivace
Symphony No. 1 In E, Op. 26: 5. Allegro
Symphony No. 1 In E, Op. 26: 6. Andante
Symphony No. 2 In C Minor, Op. 29: 1. Andante
Symphony No. 2 In C Minor, Op. 29: 2. Allegro
Symphony No. 2 In C Minor, Op. 29: 3. Andante

Tracks:

Symphony No. 2 In C Minor, Op. 29 (Cont.): 4. Tempestoso
Symphony No. 2 In C Minor, Op. 29 (Cont.): 5. Maestoso
Symphony No. 3 In C Minor, Op. 43: 1. Lento - Luttes (Allegro)
Symphony No. 3 In C Minor, Op. 43: 2. Voluptes (Lento - Vivo)
Symphony No. 3 In C Minor, Op. 43: 3. Jeu divin (Allegro - Vivo - Allegro)
Po me de l'extase, Op. 54

Customer Reviews:

Pretty good.......2003-10-17

I enjoyed these performances. The recorded sound is very nice too. The interpretations are much more easy going, warm and they lack high powered energy Scriabin calls for. But I did enjoy them. My top recommendations are the Muti (unfortunatly full price), or the new 3 cd Ashkenazy set from Decca's TRIO label...(Amazing, outstanding and fantastic in all such ways!)

Mussorgsky: Pictures at an Exhibition; Stravinsky: The Firebird Suite; Skryabin: Le Poème de l'extase

Average customer rating:

Mussorgsky: Pictures at an Exhibition; Stravinsky: The Firebird Suite; Skryabin: Le Poème de l'extase

Manufacturer: Polygram Records
ProductGroup: Music
Binding: Audio CD

Suites | Forms & Genres | Classical | Styles | Music

General | Symphonies | Classical | Styles | Music

Modern & 20th Century | Symphonies | Classical | Styles | Music

General | Classical | Styles | Music

General | Chamber Music | Classical | Styles | Music

Tracks:

Pictures at an Exhibition: Promenade: Gnome - Leopold Stokowski/New Philharmonia Orch
Pictures at an Exhibition: Promenade: The old castle - Leopold Stokowski/New Philharmonia Orch
Pictures at an Exhibition: Bydio - Leopold Stokowski/New Philharmonia Orch
Pictures at an Exhibition: Promenade: Ballet of the unhatched chicks - Leopold Stokowski/New Philharmonia Orch
Pictures at an Exhibition: Samuel Goldenberg & Schmuyle - Leopold Stokowski/New Philharmonia Orch
Pictures at an Exhibition: Catacombs - Leopold Stokowski/New Philharmonia Orch
Pictures at an Exhibition: The hut on fowl's legs - Leopold Stokowski/New Philharmonia Orch
Pictures at an Exhibition: The Great Gate of Kiev - Leopold Stokowski/New Philharmonia Orch
Le Poeme de i'extase, op.54 - Leopold Stokowski/Czech PO
Pastorale - Neville Taweel/Derek Wickens/Leonard Brain/Thomas Kelly/John Price
The Firebird-Suite: Introduction - Leopold Stokowski/LSO
The Firebird-Suite: Dance of the Firebird - Leopold Stokowski/LSO
The Firebird-Suite: Round dance of the Princesses - Leopold Stokowski/LSO
The Firebird-Suite: Infernal dance of King Kastchei - Leopold Stokowski/LSO
The Firebird-Suite: Lullaby - Leopold Stokowski/LSO
The Firebird-Suite: Finale - Leopold Stokowski/LSO

Amazon.com

Leopold Stokowski's own orchestration of "Pictures at an Exhibition" is not as accomplished as Ravel's more famous one, but he conducts it like the music has no business sounding any other way, and it's an extraordinary sonic experience in any event. In fact, Stokowski's arrangement have turned out to be so effective that they're actually being played and recorded by other conductors now. So there! As for the remainder of the program, the "Poem of Ecstasy" already sounds like a Stokowski transcription anyway--he simply owned the piece- -while the "Firebird" has a lot more Romantic sheen than it usually does. A great memento of one of music's true originals. --David Hurwitz

Music Review:

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