Scriabin: Mazurkas Peter Jablonski

• Alexander Scriabin (1872 - 1915): 10 Mazurkas, Op. 3:
• 110 Mazurkas, Op. 3: No. 1 in B Minor04:05
• 210 Mazurkas, Op. 3: No. 2 in F-Sharp Minor02:08
• 310 Mazurkas, Op. 3: No. 3 in G Minor01:41
• 410 Mazurkas, Op. 3: No. 4 in E Major03:53
• 510 Mazurkas, Op. 3: No. 5 in D-Sharp Minor04:18
• 610 Mazurkas, Op. 3: No. 6 in C-Sharp Minor02:05
• 710 Mazurkas, Op. 3: No. 7 in E Minor03:43
• 810 Mazurkas, Op. 3: No. 8 in B-Flat Minor02:48
• 910 Mazurkas, Op. 3: No. 9 in G-Sharp Minor02:48
• 1010 Mazurkas, Op. 3: No. 10 in E-Flat Minor06:26
• 9 Mazurkas, Op. 25:
• 119 Mazurkas, Op. 25: No. 1 in F Minor03:14
• 129 Mazurkas, Op. 25: No. 2 in C Major03:20
• 139 Mazurkas, Op. 25: No. 3 in E Minor02:17
• 149 Mazurkas, Op. 25: No. 4 in E Major04:28
• 159 Mazurkas, Op. 25: No. 5 in C-Sharp Minor04:04
• 169 Mazurkas, Op. 25: No. 6 in F-Sharp Major03:20
• 179 Mazurkas, Op. 25: No. 7 in F-Sharp Minor05:27
• 189 Mazurkas, Op. 25: No. 8 in B Major02:29
• 199 Mazurkas, Op. 25: No. 9 in E-Flat Minor03:45
• 202 Mazurkas, Op. 40: No. 1 in D-Flat Major01:48
• 212 Mazurkas, Op. 40: No. 2 in F-Sharp Major01:20
• Alexander Scriabin:
• 22Mazurka in F Major03:12
• 23Mazurka in B Minor02:20
• 243 Pieces, Op. 2: No. 3 in C Major01:49
• Total Runtime01:16:48

Info zu Scriabin: Mazurkas

Throughout his life Russian composer and pianist Alexander Scriabin (1872-1915) displayed a great admiration for the music of Frederic Chopin. So much so that some of his early Sonatas and Preludes are written in the same harmonic style as Chopin. And similar to Chopin, only a handful of Scriabin's works were orchestral in nature, as most of his prolific output was devoted to the piano. And nowhere are the similarities more apparent than in the Op. 3 Mazurkas. After all, the Mazurka is native to Poland and not Russia. In his youth Scriabin had a voracious appetite for all music, most notably from German composers, and you can already denote a Wagnerian influence to his harmonic development. So as you progress through these opus numbers, the basic attributes of the Mazurka may remain constant, but Scriabin's highly evolved harmonic language expands their reach. Notice how the left-hand notation becomes increasinly more refined and a key element of the music's mesmerism. And by the time you reach the Op. 40 No. 2, you've entered this composer's mystical universe.

Swedish pianist Peter Jablonski was discovered by Vladimir Ashkenazy and signed to Decca in the early 90s where he released a few highly recommended recordings as a soloist or in collaboration with Ashkenazy conducting. Over time he's developed a curiosity and proficiency for composers who reside in the outlying regions of the repertoire. Despite the fact that over the years Scriabin has established himself as a strong central figure in the piano world, his music still requires a unique temperament and approach to sound its best. Peter Jablonski reaches in an brings out this music's opium-laced perfumes and colors, and projects their intoxicating essence very well. The music of Alexander Scriabin is not concerned with notes, but rather with what these notes can evoke. Jablonski's got this covered.

Peter Jablonski, piano

Peter Jablonski
is an award-winning internationally acclaimed Swedish pianist. Discovered by Abbado and Ashkenazy and signed by Decca in his seventeenth year, he went on to perform, collaborate, and record with many of the world’s leading orchestras and conductors, which include the BBC Symphony Orchestra, Royal Philharmonic Orchestra, Leipzig Gewandhaus, Kirov (now Mariinsky), La Scala Philharmonic, Tonhalle Zurich, Orchestre Nationale de France, NHK Tokyo, DSO Berlin, Warsaw Philharmonic, Philadelphia, Los Angeles Philharmonic, and Cleveland Orchestra, Vladimir Ashkenazy, Valery Gergiev, Kurt Sanderling, Esa-Pekka Salonen, Riccardo Chailly, Daniele Gatti, and Myung-Whun Chung, to name a few.

He has performed and recorded the complete piano concertos by Beethoven, Tchaikovsky, Rachmaninoff, and Bartók, and all piano sonatas by Prokofiev. Hailed an ‘unconventional virtuoso’ (Present Arts), during his three-decade-long career he developed a diverse repertoire that includes works by Barber, Gershwin, Szymanowski, Lutosławski, Copland, Stenhammar, with most recent additions of such Scandinavian and European composers as Valborg Aulin, Elfrida Andrée, Laura Netzel, Johanna Müller-Hermann, and Alexey Stanchinsky.

He worked with composers Witold Lutosławski and Arvo Pärt, and had a number of works composed for, and dedicated to him, including Wojciech Kilar’s Piano Concerto, for which he won the Orpheus award for the world premiere performance at the Warsaw Autumn Festival. He remains a supporter of today’s composers and regularly gives world premieres of new works, together with those that have been neglected by music history.

Jablonski’s extensive discography includes recordings he has made for Decca, Deutsche Grammophon, Philips, Altara, Octavia, and Ondine labels. He received numerous awards for his recordings, which include the Edison award for best concerto recording of Shostakovich’s First Piano Concerto, Rachmaninov’s Rhapsody on a Theme of Paganini, and Lutoslawski’s Paganini Rhapsody with Ashkenazy and RPO for Decca. He was presented with the Grammophone Classical Music Award for his Deutsche Grammophone recording of works by Cécile Chaminade with Anne Sofie von Otter and Bengt Forsberg.

Peter Jablonski is the recipient of the Litteris et Artibus medal for his services to culture, granted to him by the King of Sweden, Carl XVI Gustaf. He is also the winner of a prestigious prize Svenskar i Världen (International Swedish Personality of the Year), receiving it before ABBA and Astrid Lindgren.

Booklet für Scriabin: Mazurkas