{"id":11983,"date":"2022-11-24T09:41:51","date_gmt":"2022-11-24T09:41:51","guid":{"rendered":"https:\/\/www.pianostreet.com\/blog\/?p=11983"},"modified":"2022-11-24T09:57:00","modified_gmt":"2022-11-24T09:57:00","slug":"mozart-scriabin-perfect-as-a-crystal","status":"publish","type":"post","link":"https:\/\/www.pianostreet.com\/blog\/albums\/mozart-scriabin-perfect-as-a-crystal-11983\/","title":{"rendered":"Mozart & Scriabin – Perfect as a Crystal"},"content":{"rendered":"

On her debut album for the Na\u00efve label, the Russian pianist Zlata Chochieva risks an unusual coupling: piano pieces by Mozart and Scriabin. In an interview, German magazine Pianist<\/em> asked her what connects the two composers. <\/span><\/p>\n

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New CD with Zlata Chochieva on Naive: MOZART: Duport Variations; Ten Variations on \u2018Unser dummer P\u00f6bel meint\u2019; Gigue; KV 574 SCRIABIN: Piano Sonatas Nos 3 and 10; Pr\u00e9ludes, Opp. 15 and 16<\/p><\/div>\n

– Ms Chochieva, on your new album you combine piano works by Scriabin with pieces by Mozart. How did you come up with this idea? Do you see connections between Mozart and Scriabin? <\/em><\/p>\n

– In most cases, Scriabin is coupled with music by romantic composers, Schumann or Chopin, because the connection between Scriabin and Chopin is quite obvious. In my opinion, however, Scriabin is also very close to the composers of the Viennese Classicism; his music is very structured, it always has a perfect form, a perfect structure. It is a combination of planning and supreme intuition. Precision, polyphony, good organization and fluency are all aspects that connect him to Mozart.<\/p>\n

– Are there structures in Scriabin\u2019s works that can also be found in Viennese Classicism? <\/em><\/p>\n

– Yes. Because Scriabin likes to divide the phrases in his pieces symmetrically into 2 + 2 + 4-bar segments. That\u2019s a very classical approach. Something else that connects him with Classicism is the length of the phrases. These are often much shorter than we usually find with Romantic composers.<\/p>\n

– Did Scriabin ever say anything about the importance of form for his works? <\/em><\/p>\n

– Yes. He once said that a piece of music should have a form that is \u2018as perfect as a crystal\u2019. That was the most important thing for him.<\/p>\n

– Despite all the strict formal thinking, improvisation also plays an important role in Mozart\u2019s music, for instance in the variations. How is it with Scriabin? <\/em><\/p>\n

Scriabin himself stated clearly that improvisation is not something that was of great relevance to him. As he saw it, everything had to be thought out and planned. Even if his music sometimes sounds very spontaneous, it is always through-composed and nothing is left to chance. His works have a very strong structure and a clear plan. On the other hand, Mozart was very effective in the field of improvisation, especially in his variations. He designed some of his variations to work like improvisations, for example the Gluck Variations. When I was planning the present CD, I wanted to create an element of contrast. I think these variations give the programme a certain spirit. Then we have both elements: the planned and the free.<\/p>\n

– Do you also see similarities between Mozart and Scriabin in term of sonority? <\/em><\/p>\n

– Yes, both attach great importance to a clear sound.<\/p>\n