Alexander Scriabin: 10 Mazurkas Op. 3 (reference recording: Joseph Villa)

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Alexander Scriabin (1872-1915) 10 Mazurkas Op. 3
00:00 10 Mazurkas Op. 3 n° 1 in B minor, Tempo giusto
03:32 10 Mazurkas Op. 3 n° 2 in F sharp minor, Allegretto non tanto
05:37 10 Mazurkas Op. 3 n° 3 in G minor, Allegretto
07:37 10 Mazurkas Op. 3 n° 4 in E Major
11:48 10 Mazurkas Op. 3 n° 5 in D sharp minor, Doloroso
15:43 10 Mazurkas Op. 3 n° 6 in C sharp minor, Scherzando
17:56 10 Mazurkas Op. 3 n° 7 in D Major, Con passione
21:31 10 Mazurkas Op. 3 n° 8 in B flat minor, Con moto
24:31 10 Mazurkas Op. 3 n° 9 in G sharp minor
27:38 10 Mazurkas Op. 3 n° 10 in E flat minor

Piano: Joseph Villa
Recorded in 1989
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The mazurka was originally a Polish folk dance in triple time with an accent on the second beat. As transformed and elevated by Chopin, it encompassed a wide variety of moods and tempos, but often embodied a wildness and a daring especially in its harmonic reach. Chopin seemed to use the mazurkas as a laboratory for harmonic experiments. The result is often far removed from the original folk genre, but this is a common fate of dance forms in the hands of pioneering composers.

While studying, and at times struggling, at the Moscow Conservatory in 1888, Scriabin composed the ten Mazurkas, Op. 3 and they were published the next year. Pianist Yevgeny Sudbin writes that they “…show Scriabin's most poetic and innocently charming qualities—a rare combination and one seldom encountered in his later works.”

Given Scriabin’s contemporaneous conflicts with his counterpoint teacher, there is irony in the opening measures (n°5) in close, imitative texture. Certainly no Polish folk mazurka ever began like this, but the idea may have its source in a Chopin mazurka that was undoubtedly familiar to Scriabin. Chopin’s mazurka, Op. 50, No. 3 in C sharp minor begins in a very similar manner.

We honour a pianist of immense talent, who left us too soon and who, to our knowledge, was the interpreter of the last part of the 20th century most possessed by the world of Scriabin (we recommend the excellent review by 'The Piano Files': https://www.thepianofiles.com/remembe....

Without making us forget the legendary Vladimir Sofronitsky (we are in the process of compiling and remastering his best Scriabin recordings to present them to you), Joseph Villa was not one of Claudio Arrau's last pupils without reason. Like his master, his pianistic touch is of infinite poetry. His technique is terrific, and his palette of expression and sonorities are of a permanent creativity. He was supposed to record the complete works of Scriabin, but these two hours of recordings allow us to measure the extent of his talent. We begin to enter Scriabin's world through the easy door with poems and short pieces. Then the Mazurkas, easily accessible, take over. Finally, the etudes begin to reveal the world of maturity of the Scriabinian world to finally give way to the sonatas, a universe where the exploration is endless.

🔥🎧 Album available // Scriabin by Joseph Villa: Poèmes, Mazurkas, Études, Sonatas ..
🔥🎧 Choose my streaming platform: https://lnk.to/scriabinvilla

Other Album available // Scriabin: The Poem of Ecstasy, Op. 54 by Evgeny Mravinsky
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