Scriabin – Complete Poèmes
Garrick Ohlsson
Hyperion CDA67988
Titling a piano piece a “poem” is not mere affectation. Simon Nicholls’ disc notes are packed with examples of symbolist correspondences between the arts in Scriabin’s music. But on this recording of the complete Poèmes for piano, filled out with brief character pieces, the musical variety and originality of tonal structure, articulation and texture are to me more interesting than extra-musical associations. Garrick Ohlsson’s stylistic mastery makes it so.
A Chopinist among many other things, Ohlsson brings to the Chopin-influenced Scriabin’s early Deux poèmes, Op.32 moods of a sensuous nocturne (No.1) and an intense prelude (No.2). Ohlsson’s technique is clean and bass lines are well-organized. The exquisite Poème, Op.41 is melodically distinguished and full of pianistic colour in Ohlsson’s reading. Scriabin’s tonal explorations widened in his miniatures: the results range from caprice and wit (Scherzo, Op.46) through yearning (Quasi valse, Op.47) to languor (Rêverie, Op.49, No.3), the latter a unique take on the hoary sequence of fifths. Through attentive pedalling Ohlsson manages to balance and shape Fragility, Op.51, No.1, a favourite of mine, floating right hand chords over a left hand playing both melody (thumb) and accompaniment (fingers). Much more could be written about the remarkable late Poème-Nocturne, Op.61 and Vers la flame: poème, Op.72; it is in handling varied textures, fleeting motifs and nuanced dynamics within the overall nocturnal ambience that Ohlsson creates his magic.
