I hated Scriabin until I turned 50--and then I suddenly understood it. And then I became obsessed with it. The undercurrent of turmoil, chaos, always questioning, contradicting, or even assaulting the melody. Why would anyone want to listen to that? Because it is reality, life, and truth--and there are hidden, deeper melodies hidden like rare gems in muds of despair, made all the more valuable by their rarity and difficulty to obtain. I was 40 when first assaulted by despair, and 50 when I first began to defeat it, finding deep, beautiful truths I never would have discovered without it. And Scriabin speaks that language.
I hated him with a passion as well lol I despised him. His very name would make me grind my teeth and roll my eyes lol. Absolutely hated it when YT would recomend me his music. I saw no point or beauty in his music. He sounded disturbed and out of place to me. Thankfully I eventually started to appreciate his a music around 19 years of age. But hey, better late than never.
@@gabrielmondragon6308 EDIT: OOPS I thought you were talking about Trifonov and responded. Then I read my initial message lol. I had a bit of discomfort with Trifonov himself when I first heard him, and I discussed that--but now its deleted. Anyway, if you were nineteen when you embraced Scriabin, you were a far more sophisticated nineteen-year-old than I was. Or maybe you were exposed to different music at a young age. My mom was a church pianist who only played hymns and Chopin, but only happy music--which I hated. I despise church music to this day (though not Christianity itself) but I did recognize the beauty and majesty of Chopin. Later, I discovered Chopin's best music is sad or agitated, so I started playing it myself. But Scriabin hits even closer to the bullseye of my soul.
@@zippymax1 I had a similar experience. I grew up listening to Tango and music like Jose Luis Pereales. Music that was very melodic and extremely lyrical. It was very easy on the ears and enjoyable to listen to. Kinda like chopin or Mozart. It's very "predictable". You kinda already know where a phrase is going and when it finally resolves it feels very satisfying. I guess that's why scriabin threw me of a bit at the start, especially his later works.
@@gabrielmondragon6308 Yes! Then we grow up and have to reconcile ourselves to the sad reality that dissonance is often not so quickly resolved--perhaps, as with Scriabin--not even in our lifetime. And some, like Scriabin, resolve to embrace that dissonance, and to savor it, and even to master it and control it... ...unlike Schoenberg, whose 12-tone "music" sadistically unleashed it in his post-modern mania for the deconstruction of western culture. If I ever develop a taste for that, I will know I am in hell.
Благодарю за возможность просмотра этого контента! Самое мощное исполнение знаменитого прои за ведения гениального А.Н.Скрябина! Прометей, разрывающий цепи!! Штормящее море , ночь, волны с огромной силой бьются о скалы, соленые, холодные брызги , устремляясь ввысь, достигают до измученного , прикованного к скале Прометея! Он жадно прислушивается к шуму моря, стараясь духом соединиться с силами Природы! Ещё одна попытка освободиться из оков! Но море неожиданно стихает . Надежда оказалась напрасной...
Scriabine comme on doit le jouer!!!: puissance, lyrisme et virtuosité bien sûr pour s'affranchir de la difficulté technique; j'ai eu la chance d'étudier ce morceau avec une prof du conservatoire de Moscou et j'ai à la fois beaucoup travaillé et discuté avec elle sur la façon d'interpréter ce magnifique compositeur qui est passé par le conservatoire de Moscou et y a laissé des traces indélébiles ; c'était un exalté et sa musique demande cette folie qu'ont certains interprètes comme Trifonov.
This and Garrick Ohlsson's interpretazione are just one of the most beautiful and expressive pieces that I have ever heard. Scriabin knew precisely which notes/sounds can touch the strings of the human soul, the same that a piano got.
Yes! I have become obsessed with this video. It touches my psyche at every level, mesmerizing me and soothing at every point it touches. It hits me initially like IV morphine, and elevates my mood and focuses my mind for hours. Sometimes I listen to it ten times in a row like an addict--though I never build up resistance or tolerance for it. Two years after first hearing it, its influence has only grown stronger in me.
One of my favorites or scriabins, he really draws out feelings of mysticism in many of pieces. I have found a life within the teachings of Theosophy as a recovering drug addiction. Theosophy gave me the spiritual freedom I needed so desperately needed.
The reason, why a human has written a piece, must be understand. Whats going on with alexander scrjabin during he wrote this piece. An emotion? Something he descripes? Or simply an etude to learn a difficult technique? For me personally it is a mixture of a novelle and an emotional piece. While playing you feel that something wants to come out of you (exept sweat). But you also play something that happens - maybe a storm, or a ship in distress that got caught in a hurrican.
Oh, didn't know you measure that by sweat amount! ...You think Kissin is less committed? Jokes aside.. Any person who dedicates his/her life to music is 100% committed to music!
Sweat is not in my judgment at all. He is one of the most respected and award winning pianists alive, with no ego like many divas. TowerReview.com/Tower-Records.html
ALEXANDER SCRIABIN (1872- 1915) : Etude in c#minor, Op. 42 No. 5 (1903) ru-vid.com/group/PLfdMKJMGPPtxXfwWxFDyxbZYJtE9u3aPl - the most overwhelming performance of this promethean piece. Incredible!
authentic: Scriabine with the Schuman and Chopin elements blended into the ecstatic language of A.N.S!.Much preferable to several other You Tube accounts: aggression and sheer banging! I'm sure that A.N.S. probably sweated when he played his marvelous challenging masterpiece!
Trifonov plays it flawlessly, he's a real artist. Playing the piano is tiring and causes sweating - that's how our body dissipates heat and that's normal, don't act like you don't sweat. This is childish and disgusting behavior.
this video makes me realise how difficult this piece is, and how good a virtuoso Horowitz was, when even the super great Trifonov somehow can't play it as good as Horowitz
If you play it in this tempo, yes, but generally it is really a comfortable piece. There are lot of more challenging etudes out there. This does not compare to some of the Chopin etudes, although it sounds very difficult.
@@Yannoux3000Are you trying to convince me? If I didn't know this piece maybe I would agree with you. But as it happens I already performed it, a lot of times, so I don't agree. But maybe it's just me, everyone is different.
@@Danchy082 well if you played both and found thid one easier I wont try to convince you, but I found it way harder. While Chopin focuses on a specific difficulty, several one are reunited here. But I know everyone has his own struggle, i find "easy looking pieces" hard, and the contrary too
Maybe it was very hot in there, Maybe he was unwell, but still went ahead of the concert. So many people ignorant and judging. How do some of you need to take the effort to write nasty ignorant words about other people without knowing anything. ugh
Some people tend to sweat easier, and plus, Trifonov is an excellent pianist who puts a great deal of focus and emotion into his playing. I would be sweating like that if I could play and have the stamina/understanding in music like him.
А что, комментарии чтоб только хвалить? На самом деле особых достижений тут не видно. Наоборот, опять подтверждается, что Трифонов "заводится" не от содержания музыки, а от собственного звучания (кстати, в записи туше тоже не особо впечатляет, в сравнении с живым звуком). Он не видит, о чём и для чего первая тема, о чём вторая, какое соотношение между ними. В первой - какая-то суета, неуместное, особенно при первом проведении, нагнетание драматизма (на самом деле это не борьба, а скорее некоторое томление и пассивность). Вторая появляется без всякого ощущения прорыва, без взлёта, без всякого даже вздоха и тем же звуком. Ни драмы, ни философии никакой нет.
La pauvreté des mots, le langage incertain, commentaires sur les cheveux, même les chaussures, ah! mais regardez des séries débiles au lieu de donner votre avis sur une musique que vous ne comprenez même pas. !
Hm, sorry but NO. I have just listened 3 times through this piece to see what people like about this. His technique is excelent, but the structure and the architecture of the piece doesn't speak to me. The second theme is one of the most beautiful that Scriabin wrote, it is delicate and longing, and should offer a contrast and a salvation from the whole demonic atmosphere. But he completely ruined it. Also there was no real climax, it is the same dinamics from begining to the end. Go hear some Horowitz.
Not that bad??? It's worse than I described; it's total garbage, playing so egregious that it is revolting. Yes, Kissin's performance there is way better, but even that is not so great. One only needs to listen to some giants of the keyboard that were also superb Scriabin pianists to hear the difference: Horowitz, Sofronitzky, Richter, Fiorentino, etc. Thankfully, there are younger pianists today that are superb musicians and great Scriabin players, like Alexander Melnikov. Unfortunately, he doesn't get all the hype that this joke Trifonov does.
Very interesting, I had honestly never heard of Fiorentini or Melnikov before. I don't know why Queen Elizabeth winners don't get as much recognition here in the U.S. I just discovered Anna Vinnitskaya this year too who's really quite good. But my problem with the older interpretations of this etude is they were too rushed and too dry, and obviously, I mean no disrespect to Horowitz or Sofronitsky and Richter and the like who put this etude and Scriabin in general on the map for pianists to come. I just prefer Kissin's atmosphere he creates with his signature singing lines. My favorite pianist is Volodos (the only reason I found this video is because the uploader has some Volodos recordings), and what he plays later Scriabin works, but I feel that's the point, to get lost in the beauty of Scriabin's sound and harmonies. And what Kissin does in the section right before the "coda" is really beautiful, picking out those melodic notes like bells amidst the ocean of harmony. The dryness just draws attention to a bunch of sixteenth notes and I doubt that's what Scriabin wanted. But although Trifonov really misunderstood the rubato here, I do think he deserves credit for improving since he won the competitions. I agree with you, I don't think he is the best of his generation, he might not even make my top 10 under 30 list, but the dude works super hard. I wasn't really impressed with the Chopin Evocations album, I listened to the Mompou, and once again, after hearing what Volodos did with Mompou, I wasn't really taken to that magical place at all, but he still got nominated for a Grammy, so who am I to criticize him. Sorry for the rant!
The point of playing any instrument is to hear the instrument and the musics. If you can't enjoy a musical interpretation because of the look of the interpreter, I can recommend you some Despacito, Bad Bunny, Drake.. I bet you got it. Bb
