I just discovered that he died in January 2018. Sad, but a great legacy.

4:21 RIP dearest friend - who played No.3 for me& gifted the music to me before he passed.

That is one hell of a tie.

There are many great Scriabin interpreters, but this is unforgettable. The velvety tone of that piano.

So I've listened to pretty much all recordings of the first of the Préludes available here, and this one towers over all others. I'm playing it myself right now, and I'm comparing how various pianists handle some of the challenges that I find in this piece. First, the tempo. It's supposed to be 40 quarter notes per minute, which is slower than the piece feels to me and apparently to all pianists I've come across here. I don't know whether the tempo indication is by the composer himself or not, but I presume it is. Zhukov plays it at about 50, which is slower than all others I've heard (Sofronitsky is the fastest, I didn't clock him but it feels like 80). Second, there is the question of what to do with the "inner voice" in the left hand. In most bars, there are three rising notes in the left hand indicated as a separate voice, to be played portato. This is easy to achieve when the right hand isn't playing, like in the first two bars. But when the right hand plays eighths or triplets, then it gets a bit messy when you over-accentuate the inner voice. Some pianists solve this by ignoring the inner voice whenever the right hand is playing anything faster than quarter notes. This cannot be the solution, since the score indicates otherwise. Zhukov does this beautifully - he softens the inner voice when the right hand is very "active" but brings it out in many places others don't, for example in bars 11 (0:47) and 13 (0:52) where the right hand only is indicated as pianissimo. Nobody else I heard does this. The effect is wonderful and true to the score. Third, and this is related to both previous points actually, the ways he handles repeated notes is nothing short of spectacular. In some places, the same note is played twice in a row, once belonging to the right-hand melody, once to the inner voice. Bar 6 is such an place. When you play the piece too fast (my first point above) these repeated notes tend to sound like hiccups. That might be the reason why some pianists choose not to play the inner voice (my second point). But Zhukov solves it by slowing down a little bit before the repeated notes appear, thereby giving each note its place - the first one in the right hand melody, the second one in the inner voice. I listened to bar 6 (0:25) about 10 times in a row until I figured out what he was doing. His slowing down is so slight that you might not notice it, but it's just right to solve that awkwardness of the repeated notes. Incredible! Fourth, there is the issue of how to get the full effect of the last two chords (2:28). The harmonic effect here is Wagnerian and needs to shine, but it's lost in most interpretations. It's tricky to achieve the full surprising effect of moving from C-major to B-major when the chords are played pp and ppp as indicated in the score. To be honest, I don't find Zhukov fully convincing here either, I'm missing the jaw-dropping effect of the harmonies, the OMG-moment. But honestly, that's the only fault I could find at all, and I haven't heard anyone do it better either. My verdict: Wonderful interpretation, true to the composer's intentions, very deep understanding, and it's apparent he really feels the music.

Most sublime performance! I’ve just written ‘Pure Delight’ (Op.1312), a poem inspired by Zhukov’s playing of Op.16 No.1. Will be continuing on to write for the next few preludes so I can complete the set. Part of my Scriabin Project for 2021! Happy New Year all - hope 2021 is a better year than 2020! Pure Delight (Prelude Op.16 No.1) a nonaku ©️ Sherry Grant (Op.1312) pure heavenly delight pearly swan gliding on ice, touching down songs of harmony from ancient land tricking sunlight with a trail of sparkles Written on 2020-12-31 at Auckland, New Zealand

is this the most perfect thing I've ever heard?

Nothing like the sound of vinyl! I really like these interpretations. Beautiful independent right and left hand playing and just well thought out performances. There is a real consistency in this playing from prelude to prelude.

This set is a marvel, between Zhukov and Scriabin a perfect partnership!

what a discovery! truly a Scriabinist pur sang!

Perhaps the best rendition of these Scriabin´s preludes out there. I think it´s the way Scriabin would approve and like.

Simply extraordinary. Beside the general mastery and deep understanding of each piece, the pedal work of this pianist is matched only by a few of the caliber of Horowitz, Sofronitzky, Rachmaninoff, Lipatti.

I'm rediscovering Zhukov after many years,with much pleasure,and thanks to your biographical note,learn more of his life.I had the impression of a rather unsubtle player,(Medtner&Balakirev concertos,Skriabin sonatas..)at that time,but here discover a very sensitive response to smaller Skriabin pieces,and the Bechstein helps paint so many lines&harmonies in clear,limpid colors.

.. is Emotional.. ✨🔺🎼🎧🎹🎶🎵🔺✨ to Listen.. ❤️✨✨ Thanks a lot.

8:48 minutes of heaven!!!!!!

No. 3 has passages with the absolute feel of Black gospel piano of our day, like the descending R.H. chords with ascending L.H. octaves beginning around 5:25.

thank you for uploading this video. didn't knew zhukov. wish i had this vinyl...

Incredible phrasing, control of sound and depth of sincerity... Thank you so much for finding and sharing this record.

Magnificent, especially preludes 3 & 4 starting about 4:23 are angelic, such beauty have I rarely heard.

THANK YOU!!...

schöne Aufnahme, danke!

Meraviglioso.

Dieses kann spielen nur, wer im Lieben tief verwundet wurde.

Merveilleux….

It´s so delicate like a Chopin´s nocturne...

I previously did not realize how wonderful I.M. Zhukov's playing is - having listened to no more than a couple of works. However, in these Scriabin Preludes he musically caresses the keys with such care and understanding. Perhaps occasionally, rhythm might not quite convince, but now I want to hear more of his exquisite art.

This is such a touching performance. I’ll be listening to these preludes on loop and writing Zhukov (and Scriabin) a set of 5 poems... and attempt to make my own version in recording later... if possible I’ll publish a book of poetry (entirely written in my newly invented short poetry form) in 2021, with my own recordings to go with all the poems... my personal tribute to Scriabin’s 150th!

I think Zhukov has a lovely touch here and a fine feeling for the music (a few lapses in dynamic observance not withstanding).I particularly enjoyed the intimacy of No. 3.

I voved this Dear

Was für eine Feinsinnigkeit. Vinyl is unerreicht. Danke fürs Hochladen!

Mon dieu quelle perfection...surnaturel

Thanks...:)

Ashkenazy-level Scriabin playing!

To me the Bechstein was the choice of the grand pianists of past, like Zhukov, Ponti and no doubt others too; yes it can't compete with the grand Yamahas etc of today but had that special sound in the hands of a craftsman!

Un grande pianista!

There is Scriabin, and then there is Zhukov playing Scriabin.

💖

1982 and this sound...such a pity.

Hi, is there any where to download this?

Today he is buried in Moscow. RIP

He manages to play with extraordinary delicacy without falling prey to excessive femininity. To me, the expression here is transcendent.

What does "excessive femininity" mean to you in this case? I'm not questioning your opinion; I'm simply curious about why you chose those words, since "feminity" (in the context of music) might be due to great variance in its understanding, depending on the reader.

I'd be interested to hear an example of this "femininity" you mention.