Pf. Eric Le Van No.1 : Tempo guisto (00:00) No.2 : Allegretto non tanto (04:18) No.3 : Allegretto (06:35) No.4 : Moderato (08:28) No.5 : Doloroso (12:30)
Cool, but the performer is inserting an accidental that isn't there. No. 1 (in B Minor) measures 7, 39, 97, 129, beat 3, the chord should read C#-G-B-E#, but this performer is adding a G#. No, it's not a missing accidental on the part of the publisher. Scriabin used dominant chords with diminished 5ths all over the place. Unfortunately, it is the performer's mistake, and if they submit it as an interpretation then it's one I heavily disagree with based on how frequently Scriabin used this chord in his body of work. It doesn't detract from the performance all that much, but it robs it of some of that unique Scriabin flavour!
@Miraak Noah Hocker is right - the G is played sharp each time, not G as the composer wrote; and you don't need fancy equipment to detect it - I detected it with nothing more than the loudspeaker built into my laptop. The G is in the middle of the left-hand chord, so I don't think it would have changed the ability to stretch the wide interval. If stretching the interval were a problem, it is possible to let the right hand take the upper E# in the left hand, while still allowing the right hand to do what is written for it - it would only take some adjusting of the fingering. But even if changing the G to G# *did* make the chord easier to play without rolling it, it is not a valid choice for a performer to change it - I think changing notes lies outside the realm of interpretation - although I think it's quite possibly simply an oversight that he played that chord wrongly, since you would more normally (not in Scriabin, though) expect the G to be sharp there. But the score clearly lacks a sharp sign each time the chord appears, so I consider that fairly conclusive. Changing it to G# is not something I'd consider acceptable even if it did solve the stretching problem - better to roll the chord if necessary than alter notes within it - and maybe even better still to let the right hand help out when that is possible. Although rolling wide chords is acceptable, I personally think it's best not done if it can be avoided. Some performers seem to habitually roll many chords, even when they are not especially wide, and playing with constantly rolling chords can get rather irritating if it has become a mannerism of a performer.
@@miraak8523the difference is audible very easily. C#-E#-G#-B is the dominant chord, while C#-E#-G-B is an altered version of the dominant chord, characteristic to Scriabin's music. You can easily hear the difference when you know how the two chords sound
That's why listeners should not read the score.😒 Distracting from the whole musical experience to focus on wrong notes is one of the things that made classical music sound boring for most people in late 20th century.
the contrasts in 4 are awesome, especially when it starts having thirds in the middle section. afterwards it goes back to scriabin with touches of chopin's classic mazurkas. 2 was also pretty great
It seems there are several errors. No.2 Allegro non tanto→Allegretto non tanto No.3 Allgretto→Allegretto I am studying English now.Please correct my English if I said something wrong.
Scriabin said that F#major is the key to all mysteries of the universe which is why a lot of the pieces including sonata 4 and 5 were written in those keys
Wouldn't say that. The melodies in Chopin's Mazurkas are absolute perfection in my opinion. I'm a sucker for an unforgettable melody. But of course it's a matter of taste. To each his own. One composer builds on another
