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Topic: Scriabin's Sonata #8 (Read 7425 times)

nearenough

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I've listened to all of Scriabin's works over the years, and the later sonatas seem especially mysterious and even peculiar in some ways. I remember first looking at the score of the 8th and wondering "what an unusual theme those downward spiraling fourths could be." Indeed, I have tried to play them at a reasonable speed, but this seems impossible. The figures, in different keys, are puzzlingly awkward, almost seeming to be deliberately composed to frustrate the pianist. Amazingly Ogdon plays them with preternatural speed, and Ponti a bit slower by crisp and clear. Does anyone have any tips on how to play these odd fourths?

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rob47

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Re: Scriabin's Sonata #8

Reply #1 on: May 12, 2010, 02:48:32 AM

i've got a siiiiiick henle edition of this and it suggests taking most of the bottom notes with your L.h. when it's free like so:
(this is not the henle edition though)

but in places where that isn't an option because your lh is playing that Tragique motif, i'd say just practice it a whole lot.

it's really hard.

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"Phenomenon 1 is me"
-Alexis Weissenberg

nearenough

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Re: Scriabin's Sonata #8

Reply #2 on: May 18, 2010, 03:09:48 AM

N: thank you so much for your insight. I know many assists are discovered against what is written, but i was curious if anyone has magic insight on how to play it as composed.
Next, a problem with the Brahms 2nd piano concerto.

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liordavid

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Re: Scriabin's Sonata #8

Reply #3 on: June 01, 2010, 11:17:02 PM

that fingering is bad

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ramseytheii

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Re: Scriabin's Sonata #8

Reply #4 on: June 06, 2010, 11:25:20 AM

I don't have the score in front of me but if I remember, almost all of these figures can be played with the whole hand - 5/3 4/2 3/1 5/3 4/2 3/1 4/2 3/1. If you take the left hand in the earlier passages, you will be at a disadvantage later, when it is impossible to use the left hand to help.

Scriabin is asking for a specialized technique which I think may be impossible to describe without a visual. Were I to make a fool of myself and try, I might say that in order to play the passage your hand has to circle over the keyboard.

Remember that all fingers are different lengths, and to accomodate them, we have to move either deeper or shallower on the keyboard (by which I mean towards the fallboard or away). These passages just require an extreme range of movement in that direction. They are impossible to play with a stationary hand.

Since this technique is connected both with the application of weight and with the use of the upper musculature I don't think it is possible to give an adequate description through words.

Walter Ramsey

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