jorgen.lundmark at mypost.se
Mon Jan 30 06:54:32 PST 2012
I can understand your initial reactions to the 5th. It is a very
aggressive and in many ways uncomfortable piece. It took me some time to
come to grips with it, but there is a sonata structure to be heard and a
truly amazing intensity at its high-point. In my personal opinion, it's
a bit strange that Gould did choose the most violent of Scriabin's
sonatas. Still it is, as far as I can tell, the most often played of the
It's important to understand that when Gould recorded the work there was
-- as far as I understand it -- no complete cycle recorded.
Unfortunately he seems to have lost interest in the proposed complete
sonata project, as with other romantic repertoire, after a very short
time. It would have been very interesting to hear him play all the later
> GOOD Heavens, I seem to have set the GG forest afire!!!! Well, my
> reaction to the Scriabin was a first impression and what I was paying
> attention to were the melodic elements, not the structures. I've
> heard lots of Scriabin and find him attractive, but this particular
> Sonata, on first encounter, I found, now that I think of my initial
> metaphor, like a forest devoid of all its leaves. Stark, blank and
> empty are the first things that come to mind. To honor the strong
> responses that my small post has elicited I will revisit the sonata
> and give it another listen......
> I still lament GG's lack of Debussy and Faure for that matter. I can
> only imagine how he would have launched a frontal attack on some of
> Rach's more treacherously ponderous technical moments.....
> Kind regards,
> Fred Houpt
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