Alexander Scriabin (1870 - 1915)
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24 Preludes, Op.11 (1896)
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Vladimir Sofronitsky (1901 - 1961)
Recording date unknown
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Alexander Scriabin's 24 Preludes, Op.11 is a set of preludes composed in the course of 8 years between 1888-96.
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Scriabin's 24 preludes were modeled after Chopin's own set of 24 Preludes, Op.28: They covered all 24 major and minor keys and they follow the same key sequence, alternating major keys with their relative
minors, and following the ascending circle of fifths.
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1.Vivace in C major (0:00)
The C major prelude is based on a single idea, a quintuplet figure in 2/2 meter that consistently cuts across the bar-line by starting two eighth-notes before the downbeat.
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2.Allegretto in A minor (0:45)
Stylistically, the A minor prelude in 3/4 meter has a character that is very similar to the dance rhythms in Chopin waltzes.
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3.Vivo in G major (2:34)
One of the most Chopinesque preludes from Op. 11 is the G major prelude, No. 3, which is similar to Chopin’s G major prelude.
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4.Lento in E minor (3:27)
The E minor prelude is known to be a reworking of an unfinished ballade in B-flat minor that Scriabin wrote in 1888.
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5.Andante cantabile in D major (5:22)
The D major prelude is a nocturne-like piece with eighth-note “wave” motion in the left hand..
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6.Allegro in B minor (7:04)
The B minor prelude is composed on a single idea in an etude-like style that is based on a canon at the interval of a ninth.
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7.Allegro assai in A major (7:54)
The A major prelude is a relatively diatonic piece. It has the character of a
barcarolle, with a middle voice that sounds like flowing water.
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8.Allegro agitato in F♯ minor (8:43)
From its look on the page, the F-sharp minor prelude resembles a nocturne, with wide-ranging arpeggiation in the left hand over a pedal point..
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9.Andantino in E major (10:12)
The E major prelude is a study in harmonic ambiguity. Similar to Chopin’s A minor prelude, Op. 28 No. 2, this prelude avoids the tonic, in this case the E major triad.
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10.Andante in C♯ minor (11:43)
The C-sharp minor prelude demonstrates a number of Scriabin’s personal traits.
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11.Allegro assai in B major (13:00)
The B major prelude is the first through-composed piece of the collection, the first one not to make a reprise or restatement of the first phrase.
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12.Andante in G♯ minor (14:52)
This prelude also utilizes a wide-ranging left-hand arpeggios. Furthermore, the two hands in section C work in contrary motion, similar to the soprano-tenor relationship in the B major prelude.
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13.Lento in G♭ major (16:28)
As presented in the first edition, Part III of Op. 11 starts with the G-flat major prelude. This prelude resembles a slow nocturne played Lento.
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14.Presto in E♭ minor (18:13)
This prelude is the first prelude with an unusual time signature, 15/8, a compound meter in which every measure comprises three groups of five eighth-notes.
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15.Lento in D♭ major (18:59)
Scriabin applies a unique conception of structure, key and harmony in this D-flat major prelude.
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16.Misterioso in B♭ minor (21:10)
The unusual meter (5/8 + 4/8), una corda pedaling, and sotto voce dynamics create the Misterioso mood indicated in the performance instruction for Prelude No. 16 in B-flat minor.
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17.Allegretto in A♭ major (23:13)
The A-flat major prelude is the shortest prelude in Op. 11, at twelve measures the same length as the C minor prelude from Op. 28 by Chopin.
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18.Allegro agitato in F minor (23:52)
The F minor prelude is one of the most technically demanding preludes in the entire set because of the two-against-three rhythmic conflicts in Allegro agitato tempo.
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19.Affettuoso in E♭ major (24:42)
At first glance it is easy to recognize that the E-flat major prelude is very
complicated as the two hands are out of synchronization with each other from the outset.
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20.Appassionato in C minor (25:48)
The C minor prelude is a very interesting piece harmonically. This prelude does not effect cadential motion until the very end of the piece.
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21.Andante in B♭ major (26:48)
The mood suddenly changes from the passion of the C minor prelude to a
nocturne-like calm in the B-flat major prelude.
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22.Lento in G minor (28:15)
Linear progression is one of the main characteristics of the G minor prelude.
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23.Vivo in F major (29:15)
The F major prelude is the most Chopinesque prelude in the Op.11.
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24.Presto in D minor (29:53)
The last prelude of Op. 11, the D minor prelude, assembles all of Scriabin’s
characteristics of rhythm, harmony, and piano technique.
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Scriabin put the date and place of composition at the end of each prelude. He did not compose the twenty-four preludes chronologically.