Thank you, Ms. Argerich, for a lifetime of listening pleasure. In particular your interpretation of Chopin. No one has played his work more beautifully, sensitively and proficiently. The 1975 DG album of Preludes moves me to tears every time I hear it.
The average IQs are plummeting in a measurable way and I think that 100 years ago a much higher percentage of the population was capable of embracing complexities and subtleties of this kind of music than now.
If a piece after more than 100 years still sounds modern, it must have been ahead of its time. Maybe Promethee would have had a greater impact on evolution of music, had it been more often performed. Btw. The blue-white fis major that Scrabin imagined finally becomes visible.
I really do admire everyone playing this, especially the piano ... I'm one myself (amateur class), but I couldn't even read the score! Took part in this piece on Jan 10th in the Brucknerhaus Linz, Austria as member of the choir (Hard Chor Linz), that was not too difficult. But highest regards for any orchestra and, saying it again, the pianist performingg this outstanding piece of music!
A fascinating composition... born of a courage to traverse and attempt to transcend more conventional and accepted approaches to compositional demand. The theme itself resonates with the archetypal 'spirit' of Prometheus himself: born of chaos; brings order and further meaning to reality by creating humanity, wrought from disorder, establishing singularities of consciousness, which in-turn sets the universe-alight with experience and explorative perception. Interestingly, I find I don't generally agree at all with the usual distaste and fear associated with more two-dimensional interpretations of the legend. Rather, Prometheus is the spirit of creative action, through destruction and rebirth, represents the etiologies that define the human condition. Quite the Pandora's box... chuckle :).
I was lucky enough to have received the score of Prometheus in New York , however it was in cold war times not allowed. I still have a facsimile of this score in my personal collection. In this piece I found my earlier style of writing which I truly still have even in my most advanced compositions. Just an incredible usage of modal structures with the potential of creating new harmonies. Of course the tritone was at the center of his thinking.
Even pre-Soviet Russian music was not allowed during the cold war? I didn't know that Soviet art was restricted at all during the Cold War. Where can I learn more about this?
I doubt that - sure Soviet orchestras and ballets were touring all over the western world and Shostakovich visited Britten. It’s more likely that there was not much interest in Scriabin so the score wasn’t available. It doesn’t only go for Scriabin, Szymanowski was almost unknown in the West until the 1990s, there are some composers at their level who composed in their times and are still unknown.
Absolutely love the sudden appearance of the glockenspiel (?) at 11:20. Imagine a shower of fairy twinkles suddenly appearing in the middle of some epic scene. :) I like to imagine this is Olaf Stapledon's _Last and First Men_ turned into a musical work.
It can be experienced in Amsterdam, Concertgebouw this week (Jan '20) with the complete light show as intended by the composer, and Andriss Nelsons in front of the Concertgebouw orchestra and Groot Omroep Koor, perhaps the best choir in the Netherlands. I've experienced it last night. Absolutely awesome experience.!
She can play any composer always with the right imagination , stylistically superior. she was the most nervosity ever like Horowitz so its comes well with her. Why no 5th sonata or solo music of his in her programmes. Strange. She gives us Bartok sonata and an entire concerto . I'd like to know how this happened. she's been playing Bartok for decades anyway and recorded some . So interesting what how she finally gets this or that out there!
Argerich is an intellectual. YOu have to be in order to play the music she plays and at her level but she always smiles doesn't try to sell this idea of the mind. Hearing her talk about not practicing cales and why you realize what a strong, direct,down to earth person she is. No pretense. I loved watching her talk with Pires.As natural as can be. Remarkably healthy-minded musician . Totally rare in all times. Yet she was noted for her agitation a lot in her 30's and on.How diud Abbado get Matha to do and make a commitment to this . We need 3,4,5 SONATAs from her . She means so much to so many .You'd think this study at this time would have allowed her to program Scriabin .She says she doesn't play certain things well Beeth.No.5 ? I know one of her teachers must have given her some Scriabin and Debussy and one of the Miroirs but will we ever hear in this music ? We are lucky for this .Abbado and the clarity of this Orchestra ! The score itself is amazing to look at !
@@SCRIABINIST Their agitato,nervousness they share. Scriabin s not sane,healthy music but I play him and rarely Rachmaninoff who was certainly more together. Schumann is truly multi-faceted and healthy yet its Schumann who took his life and not morose, class-conscious ,clothes conscious etc. crazy really crazy Chopin! Chopin indeed wasn't even a nice man nor generous and the things he said about other composers amazes me ,seeing that you find feats of imagination and harmony you won't findanywhere else in the 19th century!
Así que tuvieron que hacer una elección, o aceptaban las espinas de sus compañeros o desaparecían de la Tierra. Con sabiduría, decidieron volver a estar juntos
It’s a symphonic poem. The Pianoforte should be placed within the orchestra and not in front of it as if performing a concerto. In this work the piano is just another orchestral instrument in a concertante role in the orchestra like in Neils Gade symphony No. 5 in D-minor.
Wrong. Anna Gawboy's dissertation made a compelling argument - based on contexts in music history (Wagner), intellectual history (Nietzsche), Scriabin's own belief system of theosophy, as well as the narrative hints from the light show envisioned in the manuscript and the structural hints from the nature of the mystic chord as having a kind of extended subdominant functionality - that Scriabin considered the pianist to be playing the role of sacrificial savior, ie, the figure of Prometheus himself, bringing the flame of mystical knowledge at the cost of personal annihilation. So from that perspective the piano is absolutely not just one instrument among many, and placement in the soloist position on stage is completely appropriate.
