Scriabin, Etude Op. 42, No. 4 in F#

[rachfan]

The Scriabin “Etude” Op. 42, No. 4 in F# is drawn from his Eight Studies published in 1903 during his middle period.  Another pianist recently asked me why Scriabin wrote this piece as an etude at all.  My thought is that in its own way, the etude is not unlike Chopin’s “Etude” Op. 10, No. 6 in E flat or Liszt’s “Paysage” in his Etudes d'execution Transcendante.  That is, these composers believed that learning to play lyrical music was a necessary part of the pianist’s training along with fast and brilliant bravura playing.  Scriabin’s Etude 42/4 focuses mainly on playing a cantilena line, including the voicing of chords that might occur within the line.  However, unlike Chopin who took a more narrow view of imparting technique through a study of thirds, arpeggios, etc., Scriabin took a broader view of an etude in my opinion.  Thus, in this piece he inserts other challenges too such as playing portato touch quietly and managing a contrapuntal bass line written in triplets.  I hope you’ll enjoy hearing it.

Comments welcome.

Piano: Baldwin Model L Artist Grand (6’3”) with lid fully open
Recorder: Korg MR-1000
Microphones: Earthworks TC-20 matched pair of small diaphragm omni-directional condenser mics in A-B configuration    

David

[49410enrique]

well this really made my night! i must be sniffing along the right track as you posted this just  as i  started looking at this etude recently as i completed my previous scriabin etude.

you really surprised me here, it's so wonderful how the same piece of music can inspire people in such different ways, that is i heard this completely different inside myself when reading through it, yet for it's contrasts to your wonderful and elegant presentation, there's a familiararity beyond notes and rhythms, i believe you were able to bring a bolder version of my first impressions of the etude, and it works wonderfully! your voiceing and process of controlling the almost constant harmonic tension throughout the piece really made for a great evening diversion on my end.

bravo!

thanks so much for sharing such an original and masterful rendition.

[rachfan]

Hi enrique,

Thank you for all that praise!  Yes, there is quite a diversity of interpretations in playing this etude--which is really a good thing.  I believe the secret of the harmonic tension throughout was the half pedaling.  My first apprehension about this piece was the metronomic marking of a quarter = 60 which I took to be too fast, as I pondered trying to fit nuances into it.  But then again, if one slows it down, then the cantilena is not as cohesive and loses its sense of sweep.  So because the cantabile playing is paramount, I finally decided to go with the tempo as marked and introduce the romance into the music as best I could along the way.  I'm pleased with the recording, and am so glad that you enjoyed it so much!  Thanks so much for listening.

David

[ted]

I agree with you David. The concept of a "study" has become altogether too restricted and twee. If I really want to "study", to improve my double notes or octaves I go to my silent clavier and rejoice that nobody can hear what I am playing. And there is another aspect no one has mentioned - the possibility that a piece was a "study" for the composer. Ah, now there is an idea worth considering. I suppose we run into an essential problem here, in that all pieces, all improvisations, indeed all playing, are by their nature "studies". I think we can do without the term now can't we, except in the purely nominal sense ? Studies by Liszt, Chopin, Scriabin and others are "pieces of music", the same as those sounds to which we ascribe other labels. "Study" doesn't make much sense in this day and age. Goodness, now I have truly grasped the nettle and await inevitable and fierce contradiction !

Your phrasing has its usual brilliant insight into true romanticism. I don't think there is much more to say; except a very provocative suggestion. David playing his own romantic compositions would be an experience of rare delight, fully worthy of the anticipation.

[furtwaengler]

This is one of my favorite Scriabin pieces, lost in a world of ecstasy. You play it a bit faster and more driven than I am used to, however this approach gives it a brighter extroverted quality that is appealing. The contrast would be an unfolding, enveloping sound with a darker yearning. From this standpoint your take is a refreshing new view of the etude I'd not considered. That is very special and exciting. 

[rachfan]

Hi Ted,

Thanks for those compliments!  I really appreciate it.  Often I take Scriabin metronome markings with a grain of salt.  However in this case, a quarter = 60, after some experimentation, I decided to go with it.  I found that in dropping it down to 56, for example, the cantilena melody wasn't as cohesive.  At 60, the triplets in the left hand really do move right along!  Had I decided to play it slower, there would have definitely been more opportunities for poetry.  But playing it at 60, I was able to treat the cantilena with a Wagnerian touch.  I really liked it!  I too have know this etude for a very long time, so I didn't feel the need to listen to how Horowitz played it, or whomever.  Rather, I decided on a fresh interpretation, and am satisfied with the result.  It's a lovely piece.  

I'm with you--every piano composition offers its own challenges, so every piece can be considered an etude.  This notion first dawned on me back when I was in my 40s.  I was recording many of the Rachmaninoff Preludes, Op. 23 and 32.  (He also write a large group of etudes, of course, the Etudes Tableaux.)  As I worked through those preludes, it soon occurred to me that Rachmaninoff's Preludes are actually smaller etudes!  There was a famous pianist, might have been Friedman, who said that he had been studying Chopin's little Prelude in A for many years and was still finding new insights in it. That half-page of music was an etude to him!  So I believe that every time in any piece that we have to isolate a measure or passage and practice it intensively, well, know it or not, we're playing an etude.

I probably lack the talent to be a composer.  As for improvisation, the muse is somehow avoiding me.

David

[rachfan]

Hi Dave,

Thanks for praise of my rendition of this music!

Yes, "more driven" is correct, mainly which I attribute to Scriabin's metronome marking.  Sometimes I ignore them, but in this case I felt it was necessary to better sustain the cantilena line.  This is a departure from performance practices for sure, but somehow I don't believe that Scriabin would object to it.  I think this interpretation shows an entirely different possibility for playing this piece.  While admittedly there are fewer dawdling nuances (which I love as well as any pianist does), this brings some Wagnarian intensity to the music.  I don't doubt that it might be a bit controversial.

Thanks for listening!

David   

[drexo]

Just a quick comment,

Wonderful playing David. Your Scriabin interpretations are a gem - thank you for sharing!

[rachfan]

Hi drexo,

I really appreciate your listening and kind compliment on my playing.  Late Romantic music is my favorite, and I love doing recording projects and sharing them here at Piano Street.  Thanks again!

David

[costicina]

Wonderful piece, outstanding interpretation!!
Thank you so much, David, you never disappoint us

[rachfan]

Hi Marg,

Thanks for your very nice compliments!  I appreciate them.  I believe my interpretation of this etude is a bit out of the ordinary, but listeners, like you, seem to like it a lot, as do I.  So I'm glad I took a different path in playing it.

I hope to hear a recording from you soon. 

David

[m1469]

Hi David,

Your recording of this was my initiation into its world.  I don't know this piece, but I am taking your posting as an opportunity to listen, to read the great posts by you and by others, and to contrast with listening to other recordings from YT.  Thank you for posting this and for your musical presence on PS .

[rachfan]

Hi m1469,

I'm honored that I could introduce you to Scriabin's world.   And what a world it was!  He was one of the finest late romantic composers.  During his three distinctive periods his composing style continually evolved.  I'm sure that you'll find both his life story and music fascinating.  I'm glad you enjoyed hearing this beautiful etude.  While you're listening at YouTube, be sure not to overlook the Sofronitsky recordings.  Not only was he a fabulous pianist, but he was also Scriabin's son-in-law.

Ah, my presence here at Piano Street... this coming January will mark my 10th year.  Looking back, it seems like it flew by all too quickly.

David   

[emill]

Hello David!

As usual you give an informative intro about the piece and the subsequent exchanges all add up to my education .... and maybe a bit to my frustration of just merely able to appreciate rather than play. Your playing and recording are just excellent .... enjoyable to listen to despite the fact that it takes some effort on my part to understand the "excitement" generated by Scriabin on many pianists. THANKS!!  

[rachfan]

Hi emill,

Good to hear from you!  Yes, if possible, I like to give a brief introduction to a newly posted recording.  Sometimes it might set the mood, or where the music fits into the composer's oeuvre, or some little known facts, or whatever.  Like you, others have told me they find it informative and helpful.  I want to thank you so much for your praise of my playing and the quality of the recording.  I also give you much credit for pausing to listen even though Scriabin is not a favorite of yours (at least yet).  I appreciate that!

David

[goldentone]

Once again, very nice playing, David.  After several listenings I'm taking more to the piece.  I like the serious theme, but not the breezy turn Scriabin takes it.  That juxtaposition comes across as a mind in disarray.  Perhaps that is what Scriabin intended.  It sounds like the left hand kept you busy.  A lot going on.

Ten years at Piano Street coming up in January, Wow.  You should be on the Board of Directors!  Your presence here has unquestionably enriched the forum, and hardly anyone else has come close to your generosity.  You've been a very valuable influence upon my musical development.  

[rachfan]

Hi goldentone,

I think the juxtaposition could be a couple of things aside from a mind in disarray (although you might be correct).  It could be that the person singing the song might be morose, but then tries to look on the brighter side of things.  Or, it could be a duet (dialogue) between two people, one being sad while the other tries to be more uplifting, or a talk between a pessimist and an optimist.  We'll never know, of course.  But it's all part of Scriabin's genius.  Yes, that left hand in some moments can be challenging. Thanks for listening and commenting.

You've been a very valuable influence upon my musical development. Smiley 

Yes, nearly 10 years here at Piano Street!  It's hard to believe.  Thanks so much for your kind words.  If during that time I've influenced or inspired anyone--or simply pleased anyone with a particular recording--then I'm delighted!  And if I've introduced listeners to music they had never heard before which they greatly enjoyed, then I'm very glad of that too. That's what sharing music is all about.

Thanks again!

David    

[frankiisko]

Great!! Very well done!!

Thank you very much for your description, I also wondered why Op 10 #6 from Chopin (or even #3) were Études, but your explanation has been very good, as your performance!!

Thanks to share your videos (I know very little about Scriabin and I want to know more about him!) 

P.S.: Ten years on Pianostreet 

[rachfan]

Hi frankiisko,

Whenever I know some interesting facts about a piece that I've recorded, I like write a few "liner notes"--sort of what you'd find in a CD, or "program notes" at a recital, but much more brief, of course.  It's an extra step, but many people have told me that it really helps them to frame the music.  So I'm glad to do it, and also happy that you've enjoyed listening to my recordings.  Thanks for your kind words!

Yes, nearing 10 years here!

David