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Hyperion Records

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Halos (1894) by Louis Welden Hawkins (1849-1910)
Track(s) taken from CDA67057/8
Recording details: June 2000
Henry Wood Hall, London, United Kingdom
Produced by Amanda Hurton
Engineered by Tony Faulkner
Release date: February 2001
Total duration: 8 minutes 39 seconds

'Everything about this two-disc set is ideal. Few pianists could show more sympathy and affection for such volatile romanticism, or display greater stylistic consistency. This new set of the Preludes should be in any serious record collection' (Gramophone)

'Lane certainly knows how to tease out the music's textural subtleties; his emotional commitment is undeniable, as is his grasp of the poetic/virtuosic dichotomy inherent in Scriabin's music' (BBC Music Magazine)

'Lane is the perfect guide to Scriabin’s shimmering miniature masterpieces' (The Independent)

'To find contemporary performances that convey … aspects of the music more vividly and with greater sympathy, as well as with a good deal more technical refinement, one need look no further than Piers Lane’s recent transversal' (International Record Review)

'Lane's technical brilliance and assurance captures the most elusive qualities of this music, as one dream-vision dissolves into another … [his] control and balance of their veiled sonorities is wonder-filled' (The Times)

'Piers Lane is easily the master of all this … you get the sense this music is in his blood. The preludes have been well worth waiting for' (Amazon.co.uk)

'Lane's flawless finger and inspired brain are totally attuned to Scriabin's hyper-expressive sound world. Gorgeous, flattering sonics help elevate this recording to reference version status among complete Scriabin cycles. Bravo!' (ClassicsToday.com)

Cinq préludes, Op 16
composer
1894/5

Introduction  EnglishFrançaisDeutsch
With Op 16 we reach an elevated plane: this is the Scriabin idolised by the young Pasternak. Characteristically, Op 16 No 1 sustains one dominant harmony for much of its length, supporting an aspiring, soaring melodic line. No 2 is built on obsessively repeated polyrhythmic figures. lts tonality has already been remarked on in connection with Op 11 No 12. No 3 is serene in its recurring pattern of sixths, around which a filigree solo line is spun. The twelve bars of No 4 stand all under one slur: Scriabin is obsessive in his construction of four-bar phrases, but this despairing page is constructed of four phrases each three bars long, which have to sing in one breath. No 5 is an exquisite, elegant dance miniature.

from notes by Simon Nicholls © 2001

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