Alexander Scriabin: Mazurkas (Complete)

Alexander Scriabin (1872-1915) was one of the many remarkable Russian musicians and composers of the late 19th and early 20th century, creating, as the empire was in rapid decline and revolution in the near future, some of the greatest music of the era.  He was the son of a pianist and became a virtuoso on the instrument receiving, just barely past his teens, the Gold Medal, the highest honor of the famed Moscow Conservatory.

Later, he taught at the institution for several years before leaving to focus solely on writing and performing, including spending six years in western Europe and touring America in 1906.  He became fascinated by mystic teachings and abandoned religion to delve deeply into esoteric philosophy.  While Scriabin wrote a few symphonies, a pair of tone poems and some other pieces, he is best know for composing more than 200 works for the piano.

He wrote 23 mazurkas, the name coming from a fast-tempo Polish folk dance genre, and these date from 1888 to 1903 and these are redolent with beautiful melodies, strong emotion and, even as the liner notes that the young composer was under the spell of Frederic Chopin and Robert Schumann, it adds that there is a distinctive characteristic of "poetic improvisation, full of magic and charm" and that, as the pieces became more complex and with greater feeling and atmosphere, Scriabin demonstrated the marks of a mature creator.

The pianist for this 1995 recording issued four years later by Naxos is Beatrice Long, a Taiwanese artist who teaches at the Brooklyn Conservatory for the campus there of the City University of New York, and her excellent playing is beautifully recorded.  Her rendering of these amazing short pieces has lately been a tonic for tense and troubled times and anyone seeking such a balm could benefit from listening to this excellent recording.

Aleksandr Borodin: Symphony No. 2/In the Steppes of Central Asia/Prince Igor (Excerpts)

Aleksandr Borodin (1833-1887) was, in one important respect, not unlike Charles Ives, though not necessarily in their approach to composing music.  That is, whereas Ives was an insurance company executive by profession and composed on his free time, Borodin also had a prime profession in that he was a scientist with a specialty in chemical research.

Born out of wedlock to a prince from the Russian province of Georgia and an army doctor's wife, Borodin lived an upper-class existence and studied at the Medico-Surgery Academy in St. Petersburg, earning his doctorate there and conducting post-graduate work in western Europe.  He became an adjunct professor at the Academy and, in 1864, a full professor and he continued his research and teaching for the next 23 years, while also composing music.

His second symphony was completed in 1869 and Borodin was known for using Russian folk motifs, but employing unusual harmonies, a strong sense of rhythm and a distinctive use of color in his orchestrations.  There are powerful, intense passages full of tension, but also quiet, pastoral sections of great beauty in this diverse work.  His tone poem, "In the Steppes of Central Asia," was finished in 1880 for the silver anniversary of the reign of Tsar Alexander II, who pushed Russian expansion into that vast region.  The composer's notes refer to the silence of the steppes, reflected in the hushed opening and than an Asian melodic strain and the arrival of caravan moving through the desert, with Russian and Asian melodies in harmony before the trail away as the caravan disappears into the distance.  

"Prince Igor" was the sole opera from Borodin, though it was nowhere near completed when he died suddenly at 53, so the great composers Nikolai Rimsky-Korsakov and Aleksandr Glazunov finished it, adding much of their own ideas to the sketches their late friend left behind.  The story was of a 12th century Russian hero and the overture and march reflect the martial and nationalist Russian spirit with soaring passages, beautiful melodies and rich harmonies.  The Polovtsian Dances are frequently performed, with its famous theme and its sprightly as well as propulsive rhythms widely beloved.

In all, this RCA Victor recording from 1977 by the National Philharmonic Orchestra, led by Iranian-Armenian composer and conductor Loris Tjeknavorian, who is still living, is dynamic, powerful, beautiful and well-recorded and was a great introduction to Borodin.