Fantasie in B minor, op. 28
In a word: riveting.
Pianist Yoojung Kim begins her traversal of piano works by Scriabin with both a tour de force (at times literally) performance and wide-ranging technical and emotional roller coaster from the too-often neglected composer.
The opening is an intriguing mix of hope and despair, readily forecasting the developments to come. The, at times, dense writing is most assuredly rhythmically secure, deftly ranging from moments of tender innocence to copious amounts of power unleashed.
Careful listeners will allow themselves to go with the ever-changing flow and come away with a memorable excursion all the way to the final comfort of landing home in B major!
Sonata No. 2 in G-sharp minor, op. 19
The subtitle “Sonata-Fantasy” is entirely appropriate.
“Andante”: The misterioso opening–gradually gaining strength—invites the ear to stick around and discover what further revelations are to come, soon rewarded by sections of lyricism that could only be improved by less: that is pianissimo of the quietest kind. And is so welcome in these reviews (think Alfred Brendel at his best—cross-reference below), the upper reaches truly ringing are a marvel to behold and savour, before one and all disappear into the night.
“Presto”: The ambitious tempo—just a nickel short of frantic—works throughout, readily balancing the idyllic contrasts with everything leading to a dramatic finish that won’t soon be forgotten.
Sonata No. 3 in F-sharp minor, op. 23
In just over 20 minutes, composer and pianist alike scale the depths of human expression.
“Drammtico” in the early going, readily sets the stage as a study of contrasts, filled with many harmonic excursions as it continues to unfold. While there is some relief (and intentionally vague “searchings”), there’s nary a dull moment before a heartfelt fond farewell.
The following “Allegretto” features welcome, playful energy to burn (and recover from the previous movement) moving into “relaxo” with Kim’s always enticing delicate touch.
So appropriately dreamy is the ensuing “Andante” where all listeners can savour the abundance of disparate moods and feelings fuelled in the latter bars by easy-flowing triplets.
“Presto con fuoco” entirely lives up to its name as Kim realizes Scriabin’s canvas of push-and-pull (including a few intentional bits of insecurity) all leading towards exhilaration unbound before, finally (in a homage to Haydn’s unerring ear), using the composer’s most important “note”—silence! To great effect.
This performance is most certainly the highlight of the disc.
Sonata No.43 in F-sharp major, op. 30
The “Andante” lifts off as a study in introspection and longing with a hint of looking forward (Albert Morris’ “Feelings” and back (Wagner’s Tristan und Isolde). Kim readily delivers the extended right-hand accompaniments with surety and aplomb.
Nothing else to say but “Yeah, it swings!” for the concluding “Prestissimo volando”. At times impish and fun, no one can fail to smile from stem to stern.
Deux poèmes, op. 32
No.1 (in F-sharp major) is a mini-study in mysticism, employing multiple textures and tones with just a touch of stridency marring the top. Kim magically creates an atmosphere that is ideally vague before offering a fond adieu.
No. 2 (in D major) is fuelled with compelling power and strength to burn until, at last, everyone (composer, performer and listeners) can finally relax.
Deux morceaux, op. 57
“Désir” is imbued with the perfect amount of “hesitato” with a soupçon of ecstasy. And then…?
“Caresse dansée” allows the “hesitato” to continue (unifying both) but in a far more rhythmic form. Both begging the question, “Shall we?”
Deux poèmes, op. 63
“Masque”: Who’s there? Gradually, more is revealed but never “seen” in full.
“Étrangeté”: Gracious for sure, but strangely leaving more questions posed than answered. Do come to your own conclusions! As always, Kim tosses off the many technical challenges with deceptive ease.
Vers la flamme, op. 72
This ode-to-Scriabin disc concludes with one of the most impassioned works ever composed in just the space of six minutes. It lifts off quietly moody, somewhat uncertain—near desperation. Then it’s deeply, unstoppably ruled by a tolling semi tone (later in different hues) unable to stop its forward momentum into a world of agitation, almost tortured existence. Hear it for yourself and dare not be moved. Kim more than rises to the occasion. Here’s to much more from her! JWR