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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: 4 minutes 36 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)

Quatre préludes, Op 33
composer
1903

Introduction  EnglishFrançaisDeutsch
Op 33 starts with a limpid E major and a dreamy F sharp major (a key central to Scriabin’s consciousness), but the mood is shattered by an alarming outburst of anger in No 3 (‘con collera’), and Scriabin’s burgeoning ego shows itself further in the ‘daring, warlike’ No 4. Scriabin did not live long enough to reassess the idealistic illusions besetting that era; musically, the prelude’s impetus is increased by its 5/4 time signature, a feature shared with Op 11 Nos 14 and 16.

from notes by Simon Nicholls © 2001

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