# Scriabin, op.74



## myaskovsky2002 (Oct 3, 2010)

This is distress...agony...This thread doesn't speak about Scriabin, two other threads do, just about this opus....






This speaks about the other Scriabin, not about the one who slept with Chopin sheets under his pillow...not the romantic guy, but a very very modern musician, mature, a real genious...more modern than Schönberg for his time. He died in 1915.

_Douloureux, déchirant _is the title of this first prelude. This in English means painful, agonizing...It really is!

I don't think this thread would be very popular...

Martin


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## Aramis (Mar 1, 2009)

I attempted his preludes before, there are really a lot of them and somehow while being a little tired of short and not very exciting romantic ones I missed this opus. Gotta get back to my Piers Lane double album.


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## Saul_Dzorelashvili (Jan 26, 2010)

This piece is a major drivel like most of his works.

But his piano concerto in f sharp major (second movement) is a masterpiece.


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## myaskovsky2002 (Oct 3, 2010)

*Piers Lane?*

I just bought the very best, Maria Lettberg.

About his piano concerto I don't remember but the image I had with this opus is so terrible...

Thank you for particiating.

Matin


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## HarpsichordConcerto (Jan 1, 2010)

Thanks for posting. I found it quite listenable, moderately enjoyable.


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## myaskovsky2002 (Oct 3, 2010)

*enjoyable?*

Enjoyable? Harpsichorde? It is not music for enjoying but for suffering...I love this but I suffer..it is deperate...it is terrible...Can you enjoy torture?

well.....

Martin


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## MJTTOMB (Dec 16, 2007)

I personally love this piece. In the third prelude you can hear the common motive that I noticed in 5 of his late works (and none of his early works). It shows up in the Op. 61 Poeme-Nocturne, the Op. 62 6th Piano sonata, the Op. 68 9th sonata, the 72 Vers la Flamme, and in this work. The undulating, syncopated tritone in the left hand (at 2:45) appears in different variants throughout these 5 pieces. And all of them, with the exception of the 9th sonata, are tied to musical passages marked with some variant denoting joy or excitement.

That being said, Saul's opinions have no basis in actual fact, and his overuse of the word drivel has diminished its meaning. In truth, Saul's opinions are, by definition, drivel: "silly nonsense".

And since I've gone and criticized someone else for never backing anything up with factual evidence, here's a figure from my thesis on the subject, showing different appearances of the motif. One could make an argument that it's an accompaniment pattern just like the alberti bass, but I don't think so. Since it appears 4 out of 5 times in the same musical context, I'd argue that it is a motive he used as part of his vivid vocabulary of musical images (trills and tremolos for light, 5-note arpeggic "flight" motives), etc.


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## emiellucifuge (May 26, 2009)

Thanks a lot for that MJTTOMB - very very interesting. I hope youll share your thesis or any other research you may have done.


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## myaskovsky2002 (Oct 3, 2010)

*I am not a musician but I understand*

yor comparison seems pretty right.

Thank you for that!

Martin


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