Without a doubt the best interpretation!

I went to the local thrift store near my university, and next to a complete vinyl set of liszt's organ works, i was amazed to find Neuhaus with Dubrovsky recording of this concerto... not only amazed at finding scriabin at all, but this, one of my favorite pieces of all time? i bought it right away

the art of scriabin piano concerto at its finest...

Гениальное исполнение Станиславом Нейгаузом, бессмертного концерта А.Н. Скрябина!!! Спасибо KZfaq за возможность послушать эту прекрасную запись!❤

The poet speaks here, finally.

I’m hosting an online Scriabin festival from New Zealand near the end of 2022. I’m also writing a book of poetry (100 poems) for Scriabin… for the 150th birthday of my favourite composer ever…

Probably the best performance of this fine piece of Scriabin

В музыке и её исполнении столько нежности,света и воздуха, что вовсе не кажется,а на самом деле, твоя душа вырывается из груди, и парит под облаками,как птица и совершает там,то плавный(порой зависая),то головокружительный Полёт. 5.05.2021.Спасибо,Вам! Пусть весеннее солнышко вас согревает.

Благодарю за возможность просмотра этого контента! Великий, гениальный пианист, с огромной любовью и глубинной осознанностью исполняет великую, необыкновенно прекрасную Музыку гениального А.Н. Скрябина!!!

For me this the best performance of this concerto such a expressive phrasing and clear musical ideas. Bravo!!!

Many years ago I remember my father purchased a remarkable stereo L.P. (EMI Melodiya ASD 2607), Side B of which featured this self-same performance of Alexander Scriabin's gorgeous Piano Concerto in F minor, Op. No. 20, beautifully played by the pianist Stanislav Neuhaus. Speaking personally, I have yet to hear this interpretation bettered and It is a truly astonishing privilege to be able to listen to this pristine recording, devoid of the distracting background of crackles and pops that continuously afflicted the original vinyl disc. It's truly something I never imagined possible, but nevertheless here it is in all it's resplendent glory !! Purely from a point of interest, Side A featured Anton Arensky's Piano Concerto in F minor, Op. No.2, wonderfully performed by the pianist Arnold Kaplan and accompanied by the Moscow Radio Symphony Orchestra conducted by Boris Khaikin. It can be heard via the youtube link below: kzfaq.info/get/bejne/eahzqLN3trCyaIk.html Kind regards Richard

Magnifique interprétation de ce concerto qui est un véritable éblouissement de tous les instants. Les 3 mouvements sont des chefs d'œuvre.Le son est limpide, le piano à une belle part que l'orchestre accompagne respectueusement. Mr. Neuhaus a été un très grand pianiste, qui malheureusement nous a quitté trop tôt. Les internautes sont eux aussi admiratifs tant par le pianiste que l'œuvre. Et pourtant ce concerto déroute à la première écoute. Mais il faut écouter et écouter pour presque le connaître par cœur, pour attendre le passage qui nous touche au plus profond de nous. J'aime aussi et peut-être plus que tout l'interprétation de D. Trifonov. Quelle déception de nos pianistes français dont on nous rebat les oreilles. Ce sont de bons interprètes..... mais pourquoi laissent ils de côté ce chef d'œuvre de Scriabin.? Incompréhensible. Encore merci à ce merveilleux pianiste S. Neuhaus. P. R.

His performance is shining now. So beautiful and cool !

Very convincing performance. So Russian! Elegance and power.

Gorgeous rendition of Scriabin's Concerto. I could listen to it ALL day!

One of the most beautiful piano concertos ever written, played in an exceptional way, full of great feeling and refined style at the same time. Simply great.

I didn’t expect to cry, but I did. I love the clear statement of ideas, the breath, the articulation. Everything.

How gorgeous!

I've heard pianists tackle this Concerto before, some great while others not. Mr. Neuhaus doesn't disappoint me at all. I intend to listen to it again.

чудесный металлический стасик , как я его люблю за открытый мощный электрически пронзительный звук . гений !

Totally the tops. Love the third movement.

Best concert ever written!

I adore this. Thank you.

Beautiful work, wonderful performance and recording. I believe this is very much as what (the 24 year old) Scriabin was hearing in his mind as he was composing it.

Splendour♥️♥️♥️Phenomenal interpretation!

One of the great piano concerto performances. Total identification with the music. Riveting.

Easily the best interpretation of this concerto and the most passionate version I’ve heard… Wished he was better known and made more recordings, lived longer… just love love love all his recordings!

I love this cocerto.such exquosite harmonies.

昔から聴いていましたが当時は全く日の目を見なかったようなマイナーな曲だったのに最近は有名になりましたね。本当に可愛らしくて魅力的なメロディばかり

What a cosmic finale, what a concert from the beginning till the final note!! Otherworldly and the execution is also exceptional. Great collaboration and synergy between pianist and the orchestra.

Absolute performance

Just spectacular -

A work of great beauty which in places seems to need a fair bit of performer help to hang together convincingly. Here I think it receives such help in large doses and the performance sounds compelling (unlike the one I heard from the Proms last August!)

Так играли боги когда-то )

Neuhaus makes a few - quite effective - changes in the solo part. The first recording I heard, was one by Paul Badura-Skoda on a Westminster LP, and he made only one : lifting the last passage in the 1st movement up one octave, which provides a real exclamation mark. Otherwise I find Neuhaus a lot more in his element in this music.

One of the best piano concertos ever composed in my opinion.

Certainly the best.

very good

いつ聴いても美しい・・・

Il y a de la tristesse comme la saison des pluies à mon époque Sous le toit rouge, la nostalgie suit les rayons une saison infiniment belle emporté par les vagues du canal ​ ne dis rien Au rythme des contes de fées d'autrefois Pulvérisons le liquide dans la rue Le brin d'herbe chaud est comme votre jeune résilience tirant la nuit hors de la terre ​ Il existe maintenant un marché pour le cacao J'entends ton son qui ne connaît que des souvenirs comme une erreur Les garçons se cachent dans l'église par les ruelles L'odeur de l'acétylène est partout où je vais suivre comme une ombre ​ Les rues battent comme un pouls chaque jour Mon village comme la côte de Béring manquer les fleurs qui tombent Les femmes parées comme le crépuscule passent les collines Transformez la rue vers la mer en une pure salle à manger ​ Ma poitrine est comme un arbre dans le vestibule Embrassez le bégonia et sortez des airs Les dix millions de sourires que j'ai vu à travers le télescope sont enveloppés dans un manteau gris Marchons dans la nuit gelée de Noël ,

연주 듣게해주셔서 감사합니다

I think this is the ultimate "Piano Hero" concerto. I mean that positively, of course - I worked to learn and play it, as well as I could, myself. I say "Piano Hero", because in this concerto the pianist is fighting all the time - except, perhaps, in the first 40 seconds or the last 120 seconds. I take that as an indication of what Skryabin's vision - and abilities - thought a pianist could do. And that vision is enticing: but it makes it an extremely difficult concerto to play convincingly. I'm not talking about the technical difficulties - which obviously Neuhaus is more than master of in this recording. It's more a case of this concerto being deliberately _unkind_ to the pianist. Many other concertos are full of technical difficulties: but they at at least sometimes grant them dignity as moments of massive achievement. There are "wow" moments in this piece, but they're more evident to the pianist learning and playing it than to the audience. The most obvious effect would be to put more pressure on the pianist to be more "wow", but I think that's unfair on the player - as evidenced by such a pianist as Neuhaus (endowed with God knows a lot of wow), in spite of his fantastic playing, failing to solve these problems. Personally I think that, though it's an early work, this concerto already contains the ambition of later works such as the 9th/10th Sonata, in which Skryabin demands that the pianist should transform the world. Those later works are more consistent, in that no-one who doesn't want to have their mind seriously and wonderfully messed-up will listen to them: in this earlier work, it feels as though Skryabin is making the same demand, (on the pianist? On the audience?), but within the confined space of a "classic" concerto. Within that space, Skryabin is already imposing his own laws: turns from emotion to opposite emotion in a moment, nothing lasting, climaxes which then turn to nothing. Could any pianist make sense of this? It's no criiticism of Neuhaus that he doesn't - thought it's interesting hearing his opening, with far more unlyrical ringing tones than are perhaps fashionable now. I think it's to do with the piece itself: one of which I've never heard any one truly convincing performance. No idea whether AK Skryabin played it himself: but perhaps that was the intended way to play it.

Great recording 👏 Scriabin went back to Russia thank god.

What a pity this compelling pianist died so young. His interpretation is on the move, certainly romantic but refreshingly unsentimental. The finale usually bores me a bit (it's rather repetitive), but not this time. The sweeping runs up and down the keyboard are so amazingly done that one eagerly waits for them instead of counting them.

Ok. This version and Anatol Ugorski with Pierre Boulez is the best ive heard yet.

오늘도 웅장해지는 뇌세포를 느끼며 내 능력의 조촐함을 만끽해본다.. 웅장함은 조촐함 만큼 혹은 그보다 괴롭구나

The curious ending, with the short orchestral and long piano chords, has always sounded rather like a mannerism to me, but somehow Neuhaus makes it work by putting extra fire into it. Does he make a tremolo?

Schauderbare werbeunterbrechungen, von totalen musikbanausen

Why do the Neuhauses add some notes near the end of the first movement? Go to 6:20

I agree with the other comments here.

N love

Aus Respekt vor dem fabelhaften Solisten das Klavier etwas zu vordergründig aufgenommen, was den Werkeindruch schmälert.

19:31

쇼팽보다 더 좋은 인상과 성격의 소유자로 알고있습니다 많이 배우겠습니다 감사합니다

I feel great influence of Chaikovsky here

4:40 I don't like this dry break

A little unfortunate for Norwegian ears, especially for my generation who had basic piano training in the early 1950s: the sequence 22.40 - 23.00 strongly recalls "Crescendo" by Per Lasson (1859 - 1883), a very popular salon piece much used by pedagogues in its time. I daresay the composer had potential, but unfortunately his talent was nipped in the bud.