Visions fugitives Op.22
Sonata No.7 in B Flat Major Op.83 "Stalingrad"
1. Allegro inquieto
2. Andante caloroso
24 Preludes Op. 11 (excerpts)
Sonata No.5 in F Sharp Major Op.53
Duration time: 75'
The RUSSIAN PIANO
The Russian Piano is a project devoted to Russian composers Sergei Prokofiev and Alexander Scriabin, two milestones in Twentieth Century piano literature.
Composed by Prokofiev between 1939 and 1942, Sonata No.7 Op.83 in B Flat Major (known as "Stalingrad") is the core in the great trilogy of Prokofiev's piano works known as "War Sonatas", along with Sonata No.6 Op.82 in A Major and Sonata No.8 Op.84 in B Flat Major. For this work -probably the most popular and the shortest of the three Sonatas, also premiered by Sviatoslav Richter in Moscow in the same year - he received his first Stalin Prize in 1943.
Visions fugitives Op.22 is a piano collection written between 1915 and 1917. This precious piano writing gem is among Prokofiev's most unique and individual creations, being very different in tone and structure from the piano music by contemporary composers as well as from Prokofiev's music in general. Each of the twenty tracks is full of musical ideas; each conveys vivid, varied colours despite its short duration. The tone and the delicate colour shades are amazingly expressive, much more intense and evident here than in other piano works from the same period. It is named after Russian poet Konstantin Balmont's words: "In every fugitive vision, I see whole words filled with shimmering sounds and rainbowy colours ". First published in Russia in 1917, this opus is now among the most popular piano works by Prokofiev, although it is rather unusual to hear the whole collection performed.
Written in 1907, Sonata No.5 in F Sharp Major Op.53 marks the end of Scriabin's romantic period and the dawn of atonality. By avoiding any structure imposed by the tonal system and by composing one single movement in which five themes are contained, Scriabin made a decisive step in the direction of his personal revolution: delicate and evanescent harmonies - consisting of fourths instead of the traditional thirds - seem to wander during the whole piece, while they're actually in the lead in the F Sharp tone zone. Its remarkably difficult execution led Sviatoslav Richter to include it among the most challenging tracks in any piano repertoire.
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