More Scriabin preludes!
Hi , my name is Mark (in Melbourne Australia )
I’ve been a tone base member for over a year but this is my first practice post
I’ve seen that recently Marc posted a few early Scriabin preludes
so coincidentally I have been working on these as well
so here are three from op11 , I think one of them is included in Marc’s list
Scriabin preludes
Op11
No 10 , 2, and 5
https://youtu.be/XPj5_gEeQ-U?si=hZ4JsZ3Nq6Kkplnd
comments welcome !!
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Very well played, Marc! Great to hear you!
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Andrea Buckland thank you Andrea , really appreciate your kind comment!
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Excellent, good work, thanks for posting! I'd continue developing and enjoying the nuances of the musicality. Maybe the dynamics could be 1 notch more or less, or the tempo could be slower/faster, or there could be more rubato; whatever it is, make it more. As we experiment with increasing/decreasing musical parameters, we gain more skill. Thus, the purpose of the etudes will be fulfilled, lol. I listen to a variety of recordings and get the best one in my head. Otherwise, my own version gets stuck in my head and I don't know how to make it better.
I think you can be more relaxed, I know I can, and I think it's a universal thing for us all. Many videos here on Tonebase talk about how our wrists should be free in all directions. It's all fluid. The arm weight flows into the bottom of the keys, transferring from one key bottom to the next. I have to remind myself of that. It sure feels great, and being relaxed and free makes playing a whole lot easier.
Oh, and I definitely want to say: Your piano is in tune. Very nice. I think it'd be cool if you could open it on the short stick, but that might require voicing or it'll be too loud for the space.
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Giovanni V. hey Giovanni, thanks so much for your detailed reply !
I take a lot on board . I agree that I need to work on the dynamics , to be honest , I was happy I get through the recording without any major mistakes!!
ill try next time with the stick up , and see how it goes
thanks again for your great feedback
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I'm just seeing this now...great work! Some comments:
I personally wouldn't change much in the first one.
Good Halloween feel, haha.Op. 10 no. 2 and 5 were enjoyable! I'd recommend spending some time obsessing over phrasing. Some phrases end on an accent--here and there this happens with those short 4-note phrases in no. 2 (hard to avoid accenting the thumb sometimes), for example--and the longer runs in the development could use a bit more shape/direction.
No. 5 is hard to sightread at times, but when you're able to up the speed a little bit at the "con anima" section, it's really satisfying to play.
Thanks for sharing--these were fun to listen to!
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Marc M thanks Marc!
I agree with your comments , as I mentioned, I was really happy to get through the recording without a major stuff up !!
I note that each prelude was written in a different European city, do you know any more more about the circumstances of their composition ? I understand that they are a set similar to the Chopin preludes which are often performed as a complete set .
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Mark Cooper I know, it's super hard to make a good recording. To do three whole preludes in one sitting without a major flub is impressive!
Circumstances...hmm...he wrote 1-6 between 1888-1896, and the rest between 1894-1896. Events in that timeframe:
- 1888 was when he entered the Moscow Conservatory, where he studied with Safonov (and eventually gave up studying composition under Arensky).
- 1891: he suffered a really bad right hand condition which recurred in 1893, which partly explains the additional work he gives the left hand in some preludes.
- 1892: He also got into Schopenhauer, departing from the Orthodox faith of his younger years. Schopenhauer's philosophy was pretty ascetic and bleak/pessimistic, but allowed art and music as an escape from suffering (I'm not an expert in Schopenhauer, though, so take that commentary with a grain of salt).
- 1891-1895: he met and wanted to marry classmate Natalya Sekerina, but she wouldn't accept. I presume this relationship would have caused some of the passion and depression in the preludes.
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Marc M wow Marc , thanks for this info, most interesting
I guess it accounts for some of the angst in his music
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