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#2132427 - 08/13/13 05:41 PM Scriabin Prelude Op.16, No. 1 in B
RachFan Offline
1000 Post Club Member

Registered: 02/02/03
Posts: 1350
Loc: Maine, U.S.
Scriabin’s Prelude, Op.16, No. 1, (January 1894), falls within his early period influenced by Chopin’s style. Marked andante, the usual rhythmic pattern is triplets; however, the triplets are either aligned as polyrhythms or counterpoint. This presents a thin texture to the listener, yet it is more difficult to play than it sounds. I would characterize this piece as a reverie. Scriabin wanted the bar lines to be transparent—a manner of playing often found in Russian romantic music. This being a reverie, I surmise that Scriabin mitigated structure per se, as dreaming is more unstructured. Although a short work, it is not in ternary form. Instead Scriabin inserted an episode after the first appearance of the main theme, and a different one following the reprise of the theme. There are two climaxes, the first in the rubato section and a secondary one focusing on the highest note of the piece in the second episode prior to the coda. The coda itself is initially dissonant but resolves into tranquil beauty. I hope you’ll enjoy hearing this prelude.

LINK: http://www.pianostreet.com/smf/index.php?topic=52153.0

David

Piano: Baldwin Model L Artist Grand (6’3”) with lid fully open.
Recorder: Korg MR-1000
Mics: Matched pair of Earthworks TC-20 small diaphragm, omni-directional condenser mics in A-B configuration

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#2133453 - 08/15/13 04:26 PM Re: Scriabin Prelude Op.16, No. 1 in B [Re: RachFan]
synergy543 Online   content
Full Member

Registered: 05/28/11
Posts: 114
A lovely piece, thank you for posting this and introducing this little gem. You say its the period in which he was influenced by Chopin though it sounds more like Debussy to me.

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#2133479 - 08/15/13 05:11 PM Re: Scriabin Prelude Op.16, No. 1 in B [Re: RachFan]
RachFan Offline
1000 Post Club Member

Registered: 02/02/03
Posts: 1350
Loc: Maine, U.S.
Hi synergy,

I'm glad you enjoyed hearing this piece. Where it seems so much like a reverie, I think that in the catilena melodic line and the deemphasis on bar lines, Scriabin nearly produced a state of "free float" there, which I'm sure was his intention. In his early period Scriabin was most influenced by Chopin and sometimes by Liszt. I've never read that Debussy was an influence, but then again, how can be sure? Thanks for listening.

David

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