4 Preludes by Alexander Scriabin (Simon Farintosh, guitar)

Описание: Sheet Music: https://bergmann-edition.com/products...

Transcribed for guitar by Simon Farintosh.
Audio & Video: Drew Henderson
Guitar: 2015 Glenn Canin
Strings: Oasis GPX Claro HT

0:00 Prelude in E Major, Op. 11, No. 9 - Andantino
The luxurious soundscape of this prelude foreshadows the evolution of Scriabin’s complex harmonic language. While inscribed as ‘E Major,’ this prelude avoids the tonic harmony until its final cadence. The descending bass melody strongly implies the tonality of C-sharp Minor, but is clouded by gently cascading block chords in the major mode. This harmonic effect lends the piece a distinctive tone colour, complimented by the use of 7th, 9th, 11th, and 13th chords. The composer’s reverence for Frederic Chopin is apparent here, as the mazurka rhythms, wide ritardandi and accelerandi, and liberal use of rubato are all common features of Chopin’s Nocturnes.

1:50 Prelude in G Minor, Op. 11, No. 22 - Lento
This prelude takes on a decidedly regretful cadence, and is built on a sequence of chromatic descent. Frequently employing parallel movement between its voices, this prelude assumes a chorale-like texture in which dissonances resolve into dissonances. The slow tempo creates a somber effect that is complimented by the minor tonality and descending melodic motif. As in Op. 11, No. 9, the accelerandi and quasi-mazurka gesturing in the B section suggest the influence of Chopin.

3:07 Prelude in E-flat Minor, Op. 16, No. 4 - Lento
Scriabin’s shortest and most sparsely-notated composition, this prelude is comprised of a simple, plaintive melody over sustained block chords. At only twelve measures in length, this miniature is comprised of just four three-measure phrases, meticulously held together by one legato marking. This prelude has been initiated into the guitar repertoire through Andres Segovia’s arrangement as well as the namesake from Alexandre Tansman’s Variations on a Theme of Scriabin. Here, it has been left in its original key.

4:17 Prelude in B Major, Op. 27, No. 2 - Andante
Although this prelude still falls within Scriabin’s early compositional period, it introduces chromatic tendencies that would become pervasive in his middle and later works. The texture of this prelude is defined mostly by the separation between the soprano and bass voices, with both existing in a state of constant and opposing motion. The meandering chromatic line in the bass is accompanied by delicate melodies and colourful chords in the high register, creating a mood of quiet serenity.