{"id":14173,"date":"2026-04-27T11:13:18","date_gmt":"2026-04-27T11:13:18","guid":{"rendered":"https:\/\/www.pianostreet.com\/blog\/?p=14173"},"modified":"2026-05-19T18:14:17","modified_gmt":"2026-05-19T18:14:17","slug":"toward-the-flame-boris-petrushanskys-journey-through-scriabins-universe","status":"publish","type":"post","link":"https:\/\/www.pianostreet.com\/blog\/articles\/toward-the-flame-boris-petrushanskys-journey-through-scriabins-universe-14173\/","title":{"rendered":"Toward the Flame: Boris Petrushansky’s Journey Through Scriabin’s Universe"},"content":{"rendered":"

On the anniversary of Alexander Scriabin’s death.<\/em><\/p>\n

Alexander Scriabin died in April 1915, at forty-three, of a fever that took him within a week \u2014 leaving his great mystical project unfinished. He left behind a piano language no one had spoken before, one that a century later still questions every interpreter who approaches it. Boris Petrushansky has spent a lifetime preparing his answer. In a new album and an extended conversation with Piano Street, he traces Scriabin’s path from the early Preludes to the final, shattering Op. 74. <\/span><\/p>\n

\"\"<\/p>\n

For Petrushansky, Scriabin has been a lifelong companion. On his recent album “Scriabin – Piano Works” the pianist becomes the composer’s companion in turn, following him through his own life-span, from the poetic clarity of the early Preludes to the incandescent darkness of the late mysticism, where, as Scriabin told Sabaneyev of one of his final pieces, the music becomes “death.” <\/p>\n

Petrushansky was formed in the great Russian school – a student of Heinrich Neuhaus’s lineage and of Lev Naumov, internationally recognised since his last-minute substitution for Sviatoslav Richter at Spoleto in 1975. He is among the most thoughtful living interpreters of the Russian repertoire, and an ideal guide through Scriabin’s universe.<\/p>\n

While serving on the jury of a piano competition in Cremona, chaired by Petrushansky, Piano Street’s Patrick Jovell had the opportunity to interview him about the album, Scriabin’s musical universe, and his own interpretive thinking. In this exclusive conversation, Petrushansky pulls back the curtain on what it takes to survive, and master, Scriabin\u2019s demands.<\/p>\n

Preludes for a Father<\/h2>\n

Patrick Jovell: You\u2019ve said that opening the program with Op. 11 felt almost unavoidable. What does this set mean to you personally, as a pianist and as someone who lives with Scriabin\u2019s music?<\/p>\n

Boris Petrushansky: In fact, beginning the album with Op. 11 is also a personal matter for me. These Preludes were played by my father during his studies at the Moscow Conservatory (he was a pupil of A. Goldenweiser), and that period was shrouded in a kind of myth. Indeed, Professor Lev Naumov recalled my father\u2019s outstanding interpretation in his book. It was therefore a sort of tribute, an offering to my father\u2019s memory. For me as a musician, it was an entry with eyes wide open, with soul and imagination fully exposed, a mosaic of possibilities to be explored, enjoyed and even suffered through\u2014because it is one thing to listen to this music, and quite another to sculpt every moment, to bring it (in my view) closer to the spirit of the composer, to discover the necessary details required to construct even a short prelude, and then to place it within the overall context of the entire cycle.<\/p>\n

“the sound was so heavy it felt as though someone
\nhad tipped a wardrobe onto the soul!”<\/div>\n

PJ: You often build programs around a central idea or image. What first sparked the idea of shaping this Scriabin program around the integrity and transformation of piano sound?<\/p>\n

BP: My concern was to create an airy sonority that was never congested, despite certain dynamic indications by Scriabin, while at the same time keeping the dramatic bar very high, at times incandescent. My approach to Scriabin\u2019s sound world is as follows: the vector of interpretation moves upwards, towards the sky – or rather, it begins in the terribly dark and frightening depths, then rises into celestial layers of sound. This happens frequently across the span of the 24 Preludes – from profound despair and a sense of no way out, Scriabin suddenly leads us, smiling, into an almost intangible, rarefied atmosphere. And yet we are also speaking here of sonorities that Scriabin himself often described, saying that the sound was so heavy it felt as though someone had tipped a wardrobe onto the soul!<\/p>\n

PJ: Your playing highlights what some call Scriabin\u2019s sense of musical \u201cspace.\u201d How do you think about Scriabin sound, texture, and rhythmic energy when creating that feeling at the piano?<\/p>\n

BP: I must confess that these components – important though they are – are analysed and set in motion only after I first hear a piece inwardly, with my inner ear. I imagine what I would like to hear, even if it is not immediately clear in all its depth, and only afterwards do I attempt to apply these parameters to the musical realisation. It is at this point that purely technical problems begin to arise, because very often in Scriabin (though not only in him) the sonic idea collides head-on with the physical possibilities of any pianist. Whether it is a vertiginous sound space, a more legato, seductive tone, or a capricious rhythm – sometimes governed by an iron core – all of this stems from the general conception, from the primary idea, certainly with a strong empirical component, because during the work itself, directly at the piano, things emerge that one could not even have imagined beforehand.<\/p>\n

PJ: In your recording, the slower preludes from Op. 11 unfold at very spacious tempos. How do tempo and silence help you express Scriabin\u2019s inward, reflective side?<\/p>\n

BP: I did not rely exclusively on Scriabin\u2019s metronome markings, nor even entirely on his tempo indications – especially since at times certain Andantes are given a slower metronome marking than a Lento. One therefore relies more on intuition, while also taking into account the overall cycle. Where space should be expanded and where it should be tightened often becomes clear only in performance. For example, in the B-flat minor Prelude, where Scriabin erected a monument to Chopin by constructing the opening bar – and then all the others – drawing naturally on a triplet from the Second Scherzo and the rhythm of the Funeral March from the Second Sonata. I felt that the character had to be actively threatening, with an untameable force of evil. Consequently, the tempo became not oppressive but rather forward-moving, almost attacking. That is just one example. Naturally, it is difficult to recount all my thoughts, tactile experiences and choices of the best possible options.<\/p>\n

Into the Volcano<\/h2>\n

PJ: Moving from the preludes to the Fantasie, Op. 28, and then Sonata No. 4, Op. 30, Scriabin shifts from miniatures to larger forms. How do you hear his emotional world expanding, and how do you connect the lyrical, dreamlike passages with the bursts of nervous energy?<\/p>\n

BP: Turning to one of the most complex pieces, the Fantasia Op. 28, I must admit that at first I felt rather powerless – the abyss between everything I wished to achieve and the mass of technical difficulties was so vast. It is well known that Scriabin himself never played the Fantasia; indeed, he completely forgot its existence and did not recognise it when someone – probably a pupil – was playing it in an adjoining room of his apartment.<\/p>\n

In truth, Scriabin, already thinking in terms of cosmic sonorities on the eve of composing the Second Symphony Op. 29, undoubtedly also imagined a burning, volcanic cosmos in the Fantasia. All very well – but how is one to realise all this? As written, I can assure you, it is impossible, or else the result becomes heavy, clumsy and ungainly. Therefore, many technical adjustments were necessary, while faithfully preserving the text and all the notes, but lightening the sonic substance, making it more mobile and more aspirational towards the latter half. Then there are also problems with legato octaves\u2026 In short, the task was a challenge for me and, in the end, it seems that I succeeded. It is not for me to judge, but at this point I did everything possible. Perhaps, if I were to return to performing the Fantasia, I would find something more – but that is another chapter.<\/p>\n

The transitions from the dreamlike pages to the more decisive and stormy ones in the Fantasia are superbly conceived, because the form of the exposition is truly perfect. From the sweetest dreams of the second theme, Scriabin leads us naturally into the vortex of action of the concluding theme of the exposition. The space that opens up before us seems like a triumph of creative force, an overflowing joy, which is then extinguished as we return to the pessimistic origins of the Fantasia\u2019s opening. Nor should the final B major deceive us – it is a demonic victory, in my view. Here we are close to Mikhail Vrubel, the great Russian painter, author of the two \u201cDemons\u201d: *The Seated Demon* (1890) and *The Downcast Demon* (1901), composed a year after the Fantasia. Coincidence? Certainly – but at the same time I suspect that something was circulating in the symbolist cultural and social atmosphere of Russia that could unite these two artists, without either of them formulating concrete intentions. This is merely my supposition, which helped me decipher the content and consequently choose the so-called \u201cmeans of transport\u201d.<\/p>\n

“Here space becomes extremely compressed, with an idea of setting everything ablaze…””<\/div>\n

I first approached the Fourth Sonata a long time ago, several decades back. I was still a student at the Moscow Conservatory and was madly fascinated by this music. Over time, I hope, I have discovered more flexible aspects in both the first and second movements, ranging from the unutterable desire of the opening phrase of the first movement – shy, modest, almost ashamed of itself yet unable not to blossom – to developmental moments that promise something that might occur in the near future, before dissolving into the glacial, cosmic stillness of the recapitulation. From the first part, who could ever imagine such an unrestrained flight in the second movement? And yet Scriabin places us in a very harsh condition, hardly ever allowing a moment of rhythmic respite. Everything is governed by this mad gallop – never aggressive, yet extraordinarily varied in imagery. Here space becomes extremely compressed, with an idea of setting everything ablaze (a precursor of *Mysterium*?), in order to build a triumphant new world, pure and filled with love. The performance challenges here are manifold – from maintaining clarity at all times (or almost, except at the climactic point, where one must still listen carefully so as not to clutter the sound space unnecessarily), to allowing the initial theme of the first movement – completely transfigured – to become a kind of joyful, promising, optimistic slogan. As I write this, it occurs to me that there is some assonance between the word \u201cto promise\u201d and \u201cPrometheus\u201d. But that is an English linguistic observation, even though in French, which Scriabin undoubtedly knew, *promesse* is also fairly close to the word *Prom\u00e9th\u00e9e*.<\/p>\n

Two Sides, Then Darkness<\/h2>\n

PJ: Scriabin is often credited with inventing the piano poem. What draws you to the poetic world of Op. 32, and how do the two Po\u00e8mes differ in character for you?<\/p>\n

BP: Scriabin effectively began to expand the form of the miniature to broader dimensions, especially in Po\u00e8me No. 1 of Op. 32. The second, more compact piece may resemble a prelude in scale, with one exception – there is a fairly extended coda, a kind of summing-up, which we do not find in the Preludes. Given that it is in the same key as the Fourth Sonata, it is also a kind of reflection of its elder sister, bearing the somatic traits of that grand sonata.<\/p>\n

Here we truly encounter two sides of Scriabin\u2019s spirit within this mini-cycle, though this is no discovery. In my view, one senses Schumannesque traces here: from the meditative, uncertain and fragile Eusebius of the first piece to a constructive, energetic second piece that declares its will without hesitation. Thus, despite all the Scriabinesque peculiarities – the elusive sound (as he himself writes in the first piece), and the almost metallic sonorities, though of a noble metal – the roots seem to me to lead back to the great Robert Schumann.<\/p>\n

Scriabin then further extended the form of the piano poems in Opp. 34 and 36, before moving on to symphonic forms, where he felt very much at ease, no longer confined to a single instrument – even if that instrument was the piano.<\/p>\n

PJ: Between Op. 32 and Sonata No. 9, Scriabin\u2019s style changes dramatically. As a performer, what feels most radically different in this shift, and does the \u201cBlack Mass\u201d label help or hinder you in shaping the sonata\u2019s dark, obsessive sound world?<\/p>\n

BP: The title *Black Mass* is due not only to the pessimistic, inexorably tragic atmosphere with its satanic triumph, but also to the use of tritones, long considered *diabolus in musica*. At times the touch becomes more direct, more uncompromising, creating in forte a kind of extraterrestrial, inhuman sound. It is well known that the form of Sonata No. 9 is crystalline, with moments of ineffable sweetness, yet the vector towards inevitable self-combustion reigns supreme, closing this legend in total incineration. It is crucial here never to exaggerate either speed or volume, right up to the point of implacable condemnation near the end of the Sonata. The coda, too, must be articulated with absolute clarity, with all its terrible intervals, without fear of becoming too rational. It becomes clearer – and thereby even more terrifying.<\/p>\n

Toward the Flame<\/h2>\n

PJ: In his late works, Scriabin moves away from traditional harmony toward sound color and rhythm. How does *Vers la flamme* push your pianistic thinking in new directions compared to the earlier pieces?<\/p>\n

BP: \u201cVers la flamme\u201d also contains an enigmatic task, embedded in the word \u201cVers\u201d (\u201cTowards\u201d). I therefore believe that a true volcanic flame begins to erupt only in the final two pages of the piece, saving the outpouring of lava for the very last moment. This is not always easy, but if one looks at the indication *dolce* at the beginning of the faster section, it becomes clear that the composer wished to go all the way, without burning one\u2019s wings too soon. Here too, the sound must always carry us upwards, towards the summit of the volcano, and consequently the bass must never be weighed down – it must be present, absolutely so, but in such a way as to allow the spirit to transform into fire, into which the existence of man, of peoples, of the world itself is transformed, in order to be reborn pure, chaste and celestial. Naturally, technical adjustments between the two hands are required here as well, without losing a single note – but that is another matter entirely.<\/p>\n

PJ: The Five Preludes, Op. 74, end the program in darkness and tension, yet traces of elevation and light remain. How do you balance those extremes, and how consciously do you think in philosophical terms when shaping the program\u2019s overall journey?<\/p>\n

BP: In concluding the CD programme with Op. 74, I felt that there was a certain logic in returning\u2014on another level, of course – to the famous opening Prelude, as a kind of epilogue. These pieces possess a truly shattering tragic quality, so much so that when L. Sabaneev asked, with a trembling voice, what this second Prelude was, Scriabin replied: \u201cThis is death.\u201d One therefore needs nerves of steel and a cool head not to collapse, because this music is magnetic – it drags you magically into desperate depths from which it is difficult to emerge. Even the final Prelude, which concludes both the cycle and the entire CD, despite attempts to rise and to set off towards the sky, ultimately falls back down, once again with a tritone above – ever satanic. Thus, what links the Sonata, *Vers la flamme* and the Preludes Op. 74 is not only a tragic vision of the world – which in the case of Op. 72 nevertheless leads towards self-combustion – but also the intervallic use of tritones, whenever necessary.<\/p>\n

PJ: You come out of a powerful Russian piano tradition, with legendary Heinrich Neuhaus as a key influence in your training. From a cultural point of view, where do you personally begin when trying to understand Scriabin\u2019s style and how his music evolved?<\/p>\n

BP: Yes, I proudly belong to the Russian school – now transformed, but still maintaining a very high degree of human warmth. This is also evident in work on Scriabin, who must be understood without fear of not being equal to the task. One must climb to that level slowly and cautiously, so as never to shatter the porcelain – which in late Scriabin sometimes becomes tempered like steel.<\/p>\n

Certainly, in Neuhaus\u2019s class a great deal of Scriabin was played, but for the most part I arrived at him on my own – through enormous effort, youthful daring and ardour, but without full understanding until painstaking work had been done. The general atmosphere undoubtedly helped, but I reached it stubbornly on my own. For a long time thereafter, I left Scriabin aside completely, partly because I needed an aesthetically different, more massive repertoire – leaning more towards Rachmaninov and Brahms, if you see what I mean. Yet I never abandoned the idea of one day returning to explore those unknown lands and skies, and of making a contribution in honour of my father, Neuhaus and Naumov. The great Heinrich used to say that the \u201cwhat\u201d is very important, fundamental – but in the end, only the \u201chow\u201d truly matters. To begin understanding Scriabin\u2019s music does not necessarily mean starting with the early works, despite their freshness and lightness, though they are also quite athletic, such as Op. 8. One can explore the entire repertoire, perhaps avoiding the more enigmatic works like the Sixth and Eighth Sonatas. One may attempt them, but only if equipped with a certain cultural and artistic background.<\/p>\n

In any case, I wish all those who are willing the joy of immersing themselves in the world of this genius, this unique and unrepeatable composer.<\/p>\n

\"\"<\/p>\n

Listen to samples at amazon.com >><\/a><\/p>\n

About Boris Petrushansky<\/h2>\n

Born in Moscow, Boris Petrushansky was formed in the city’s great pianistic tradition, studying at the Moscow Conservatory under Lev Naumov and within the Heinrich Neuhaus lineage. International attention came early. In the summer of 1975, two last-minute appearances \u2014 at the Festival dei Due Mondi in Spoleto and the Maggio Musicale Fiorentino, the latter stepping in for Sviatoslav Richter \u2014 proved decisive. From there, his career expanded across the world’s major stages, from Europe to the Americas and Asia.
\nA prolific recording artist, Petrushansky is perhaps best known for his complete Shostakovich piano works on the Stradivarius label, alongside collaborations with leading orchestras, conductors, and chamber musicians. Teaching has been equally central to his identity: a former Moscow Conservatory professor, a juror at the Busoni, Chopin, Leeds, and Tchaikovsky competitions, and \u2014 since settling in Italy in 1990 \u2014 a founding pillar, with Lazar Berman, of the Accademia Pianistica “Incontri col Maestro” in Imola.
\nIn 2014 he was named Academician of the Accademia delle Muse in Florence. Today he stands as a musician in whom tradition, memory, and living artistry converge.
\nHis Scriabin album, discussed here, is the latest chapter in a career defined by depth of inquiry rather than display.<\/p>\n

\n

Piano Street’s library holds Scriabin’s complete piano works \u2014 all 220 pieces, from the youthful Chopin-inspired Mazurkas<\/a> and Preludes<\/a> through the Sonatas<\/a> and Po\u00e8mes<\/a> of his radiant final years. Every work discussed in this interview is available to study in full score, paired with handpicked recordings through Piano Street’s Audiovisual Study Tool<\/a>.<\/p>\n","protected":false},"excerpt":{"rendered":"

On the anniversary of Alexander Scriabin’s death. Alexander Scriabin died in April 1915, at forty-three, of a fever that took him within a week \u2014 leaving his great mystical project unfinished. He left behind a piano language no one had spoken before, one that a century later still questions every interpreter who approaches it. Boris Petrushansky has spent a lifetime […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[20],"tags":[],"class_list":["post-14173","post","type-post","status-publish","format-standard","hentry","category-articles"],"yoast_head":"\nToward the Flame: Boris Petrushansky's Journey Through Scriabin's Universe - Piano Street Magazine<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.pianostreet.com\/blog\/articles\/toward-the-flame-boris-petrushanskys-journey-through-scriabins-universe-14173\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Toward the Flame: Boris Petrushansky's Journey Through Scriabin's Universe - Piano Street Magazine\" \/>\n<meta property=\"og:description\" content=\"On the anniversary of Alexander Scriabin’s death. 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