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Hyperion Records

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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 38 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)

Four préludes, Op 39
composer
1903

Introduction  EnglishFrançaisDeutsch
The four preludes of Op 39 open with a strong harmonic flavour of the ‘Divine Poem’, but there is a suspicion here that Scriabin is applying his harmonic innovations to a familiar musical content. Not so with the startling twists, turns and mood shifts of No 2, truly improvisatory in manner. The mysterious languor of No 3 rests partly on Scriabin’s favourite three-against-five cross-rhythm. In No 4 the harmonic progression is enigmatic, elliptical, labyrinthine, like a sentence in very late Henry James.

from notes by Simon Nicholls © 2001

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